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The Modern Language Association of America
GENERAL SERIES
No. U
SHAKESPEARE'S SEVENTEENTH-CENTURY
EDITORS, 1632-1685
Approved for puhlicatioji in the General Series of the Modern Language
A ssociation of A tnerica
Ronald S. Crane
Joseph E. Gillet
George L. Hamilton
Eduard Prokosch
Hyder Rollins
Karl Young
Committee on
Research Activities
Published under a grant awarded by the American Council of Learned
Societies from a fund provided by the Carnegie Corporation of New
York
SHAKESPEARE'S
SEVENTEENTH-CENTURY
EDITORS
1632-1685
BY
MATTHEW W. BLACK
AND
MATTHIAS A. SHAABER
Department of English,
University of Pennsylvania
NEW YORK: MODERN LANGUAGE ASSOCIATION OF AMERICA
LONDON: OXFORD UNIVERSITY PRESS
1937
-^f"
,/-)
(5 '^ 'oL.
Copyright, 1937 , by
The Modern Language Association of America
t ! \ 1 / \ / ' PRINTED BY THE GEORGE BANTA PUBLISHING COMPANY, MENASHA, WISCONSIN
;:^ ;,./<"
','///
i.!^
K^
To
FELIX E. SCHELLING
with gratitude and affection
~i3 «^ r™ F*^ !C^ ^"
Jl. C: "-^ i o «^
PREFACE
THE GERM of this study was an impression, formed independently
by the authors during the collation of the early texts of certain
of Shakespeare's plays, that the second, third, and fourth folios con-
tained more strikingly good emendations than we would have ex-
pected in mere publisher's reprints. In the hope of admitting more
light upon the matter, we consulted the available authorities, only
to find the more or less contradictory array of opinions regarding the
second folio which is reviewed in the introduction to our study and
little or nothing regarding the third and the fourth. Curiosity spurred
us to examine the folio texts somewhat further, and, as we found
more and more evidence of changes which looked certainly deliberate,
we began to wonder whether a more exact statement of what hap-
pened to the text of Shakespeare in the seventeenth century was not
desirable. As a consequence, we decided to collect and study all the
variants in the folio texts which we could find, with the results stated
below.
These results are but a small contribution to the history of the
text of Shakespeare, but we hope we may claim for them that they
are sufficiently comprehensive and exact to obviate the necessity of
ever again collecting the data on which they are based. That the
labor this work has cost us is out of all proportion to either its hu-
mane or its scholarly value no one knows better- than we. But, start-
ing as we did with an impressive forewarning of the contradictions
to which glib surmise and hasty assumption lead, we felt bound to
take into account every scrap of evidence available, since no other
method would yield a final result. We therefore make no apology for
chronicling what may seem at times to be very small beer.
On the other hand, we venture to hope that, apart from its use in
determining the real nature of the three later folios, this study may
be of some use in that search for certitude regarding the primary
texts of Shakespeare which is a much more important end of Shake-
speare scholarship. If our principles of discrimination between edi-
torial corrections and non-literal typographical errors (principles
which, though not original with us, have seldom, if ever, been tested
by application to so large a body of data) are sound, they might
reasonably be applied to the variants in the earlier and more authori-
tative texts — specifically, to those between successive editions of a
quarto text or between a quarto text and the first folio text set up
viii PREFACE
from it. Here, to know what is a deliberate correction and what an
accident in the printing-house is a matter of first importance in es-
tablishing the texts of the plays. But while editors and textual stu-
dents have often adjudged individual variants in the primary texts
according to the criteria we use in this study, it is only rarely that
they have been applied systematically and on a comprehensive scale.
The application of them to the variants in the text of Shakespeare
up to 1623 might, we believe, yield some useful results, might even
dispel or confirm that fear that has so long haunted textual study:
the possibility that variants in the reprinted editions of the plays
may have some authority after all. If the opportunity is afforded us,
we should like to follow up this idea ourselves.
In the course of our work we have been greatly assisted by various
grants from the Committee on Research of the University of Penn-
sylvania which have facilitated the preparation of the manuscript.
We are deeply indebted to the American Council of Learned Societies
for a grant in aid of publication and to the officials of the Modern
Language Association of America through whose good offices this
grant was obtained.
To Professor Felix E. Schelling, of the University of Pennsylvania,
Dr. Joseph Q. Adams, director of the Folger Shakespeare Library
in Washington, Professor Albert C. Baugh, of the University of
Pennsylvania, and Professor Robert M. Smith, of Lehigh University,
we wish to express our appreciation of their kindness in reading our
manuscript and our gratitude for their encouragement. We are like-
wise grateful to Henry N. Paul, Esq., for introducing us to the an-
thologies of Cotgrave and Poole, and to Professor Josiah H. Penni-
man. Provost of the University of Pennsylvania, for his advice, and
for the loan of valuable books.
Our amanuensis. Miss Elizabeth M. Barton, has deserved our
thanks for her skill and faithfulness.
TABLE OF CONTENTS
Preface vii
Part I
INTRODUCTION
§1. Historical Sketch i
§2. Editor and Printer 5
§3. Classification and Method of Procedure 22
§4. Changes in the Second Folio 32
§5. Changes in the Third Folio 50
§6. Changes in the Fourth Folio 58
§7, Editorial Changes Affecting the Punctuation Alone 66
§8. Contribution to the Standard Text 75
§9. Conclusions 95
Part II
EDITORIAL CHANGES IN THE SECOND, THIRD,
AND FOURTH FOLIOS
CHANGES IN THE SECOND FOLIO (1632)
Changes Adopted by Many or All Modern Editors 99
I. Thought 99
1 1 . Action 112
III, Meter 114
IV. Grammar 122
V. Style 135
VI. Punctuation 147
Changes Which Restore the Reading of an Earlier Text 154
I. Thought 154
II. Action 161
HI. Meter 161
IV. Grammar 165
V. Style 170
Superseded Changes 172
I. Thought 172
II. Action 178
HI. Meter 179
IV. Grammar 187
V. Style 189
X - CONTENTS
Intelligible Changes Not Adopted by Most Modern
Editors 191
I. Thought 191
II. Action 197
III. Meter 197
IV. Grammar 200
V. Style 207
Mistaken and Arbitrary Changes 215
I . Thought 215
II. Action 224
III. Meter 225
IV. Grammar 236
V. Style 242
CHANGES IN THE THIRD FOLIO (1664)
Changes Adopted by Many or All Modern Editors 247
I. Thought 247
II. Action 251
III. Meter 251
IV. Grammar 253
V. Style 256
VI. Punctuation 259
Changes Which Restore the Reading of an Earlier Text 264
I, Thought 264
II. Action 273
III. Meter 275
IV. Grammar 277
V. Style 282
Superseded Changes 284
I. Thought 284
II. Action 289
III. Meter 290
IV. Grammar 291
V. Style 293
Intelligible Changes Not Adopted by Most Modern
Editors 294
I. Thought 294
II. Action 295
III. Meter 295
IV. Grammar 296
V. Style 299
CONTENTS xi
Mistaken and Arbitrary Changes 304
I. Thought 304
II. Action 311
III. Meter 311
IV. Grammar 313
V. Style 317
CHANGES IN THE FOURTH FOLIO (1685)
Changes Adopted by Many or All Modern Editors 320
I . Thought 320
II. Action 323
III. Meter 323
IV. Grammar 324
V. Style 327
VI. Punctuation 330
Changes which Restore the Reading of an Earlier Text 337
I. Thought 337
II. Action 344
III. Meter 344
IV. Grammar 345
V. Style 347
Superseded Changes 348
I. Thought 348
II. Action 352
III. Meter 352
IV. Grammar 353
V. Style 354
Intelligible Changes Not Adopted by Most Modern Edi-
tors 355
I. Thought 355
II. Meter 358
III. Grammar 359
IV. Style 364
Mistaken and Arbitrary Changes 370
I. Thought 370
II. Action 374
III. Meter 374
IV. Grammar 375
V. Style 376
Appendix 379
Index 397
SHAKESPEARE'S SEVENTEENTH-CENTURY
EDITORS
Part I: Introduction
Historical Sketch
THE TRUTH IS," said Dr. Johnson, speaking of Theobald's opinion
of the relative authority of the four seventeenth-century folios
of Shakespeare's plays, "that the first is equivalent to all others, and
that the rest only deviate from it by the printer's negligence. Who-
ever has any of the folios has all, excepting those diversities which
mere reiteration of editions will produce."^ This opinion has been a
long time a-dying. To be sure, Steevens, in the edition of 1778, revised
it so far as it concerns the second folio, which, he said,
is not without value; for though it be in some places more incorrectly printed than
the preceding one, it has likewise the advantage of various readings, which are not
merely such as reiteration of copies will naturally produce. ... As to the third and
fourth impressions . . . they are little better than waste paper, for they differ only
from the preceding ones by a larger accumulation of errors. I had inadvertently given
a similar character of the folio 1632;- but take this opportunity of confessing a mis-
take into which I was led by too implicit a reliance on the assertions of others.^
This opinion of Steevens's, however, was soon challenged by Malone,
who undertook, in the preface to his edition of 1790, to arbitrate the
difference between the views of Johnson and Steevens. Malone set
forth a list of variant readings in F2, from which he concluded that
The second folio does indeed very frequently differ from the first by negligence or
chance; but much more frequently by the editor's profound ignorance of our poet's
phraseology and metre, in consequence of which there is scarce a page of the book
which is not disfigured by the capricious alterations introduced by the person to
whom the care of that impression was entrusted (p. xix).
Accordingly, he said,
no person who wishes to peruse the plays of Shakspeare should ever open the Second
Folio, or either of the subsequent copies, in which all these capricious alterations were
adopted, with many additional errors and innovations (p. xliii).
^ The Plays of William Shakespeare, . . . Notes by Sam. Johnson (1765), vol. i, p. 1
(Tonson-Woodfall ed.), vol. i, sig. [Dl]^ (Tonson-Corbet ed.).
^ See the Johnson-Steevens edition of 1773, preface, sig. [N8].
3 P. 237.
2 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Malone was at once contradicted by Ritson, who flew to the other
extreme in declaring that "for one instance of an alteration for the
worse it will be easy to produce ten instances of alterations for the
better,"^ and by Steevens, who brought forward the damaging asser-
tion that Malone himself had adopted i86 corrections from F2 in his
own edition.^ But Malone's notion of the inconsequence of F2 seems
to have prevailed over that of Steevens. It is to be feared indeed that
more recent remarks on the subject of the interrelations of the folios
have often but echoed Johnson and Malone. At any rate, it was still
possible for Miss Bartlett to say, in 1922, that F2 "has no new read-
ings which are of interest to the scholar,"^ and for Sidney Lee, in
1925, to maintain that "The Second Folio was reprinted from the
First ; a few corrections were made in the text, but most of the changes
were arbitrary and needless, and prove the editor's incompetence,"
that F3 is "mainly a reprint of the Second," and that "the Fourth
Folio . . . reprints the folio of 1664 without change except in the way
of modernising the spelling, and of increasing the number of initial
capitals within the sentence."''
The collection of material which has modified such views in every
particular began as early as 1859, when Mommsen carefully exam-
ined all the early texts of Romeo and Juliet and brought in a some-
what different report :
Die Correcturen in B [F2] treffen ebenso oft das Falsche als das Richtige, obwohl
sie fast immer an sich recht gescheidt sind.
In addition, he said, F2 corrects some of the typographical errors of
Fi, takes special pains to correct the meter, with results by no means
always unhappy, and inserts some conjectural emendations in the
text — once more "nicht immer ungliicklich."* Mommsen even found
the third and fourth folios a little better than waste paper. The
third, he declared, is insignificant (p. 84), but the fourth is the most
correct of all the folios (p. 88).
By 1863 the Cambridge editors had completed their pioneer colla-
tion of all the early texts and summed up their impressions as
follows :
The second Folio (F2) is a reprint of the first, preserving the same pagination.
It differs, however, from the first in many passages, sometimes widely, sometimes
* Cursory criticisms on the edition of Shakspeare published by Edmond Malone ( 1 792),
P- 2.
^ Fourth edition (1793), p. xxviii.
8 Mr. William Shakespeare, p. 51.
' A Life of William Shakespeare, 4th revised ed., pp. 570-2.
^ Shakespeare's Romeo und Julia. Eine kritische Ansgabe . . . von Tycho Mommsen
(1859), pp. 72-4.
HISTORICAL SKETCH 3
slightly, sometimes by accident, sometimes by design. The emendations are evidently
conjectural, and though occasionally right, appear more frequently to be wrong.
They deserve no more respect than those of other guessers, except such as is due to
their author's familiar acquaintance with the language and customs of Shakespeare's
day, and possible knowledge of the acted plays. . . .
The third Folio ... is on the whole a tolerably faithful reprint of the second,
correcting, however, some obvious errors, making now and then an uncalled-for
alteration, and occasionally modernizing the spelling of a word. The printer of course
has committed some errors of his own.
The fourth Folio (F4) was printed from the third, but with a different pagination,
in 1685. The spelling is very much modernized, but we have not been able to detect
any other evidence of editorial care.
Again, in 1902, Professor C. Alphonso Smith published a list of cor-
rections in grammar which he had found in F2, from which he drew
the surprising conclusion that in 1632 "a new edition was called for,
in which the chief burden of the endeavor should be to make the
language conform to the needs of written style rather than to the
demands of oral delivery."^
By gradual stages, therefore, scholars have come to the opinion
that, barring obvious typographical errors, the changes found in F2
were made deliberately for the purpose of improving the text and
that some of them do not deserve the contempt with which Malone,
for example, speaks of them. This opinion is expressed by Lounsbury
as follows:
[In F2] occurred the first essay in the direction of attempting anything in the shape
of emendation . . . The alterations found in it, though not numerous comparatively
speaking, were too numerous, and their character was too marked, to permit them
as a whole to be regarded as the result of accident, whatever might be true of in-
dividual instances. About the value of the changes then made, . . . there is now a
substantial agreement that if some of the alterations of the folio of 1632 are for the
better, the majority of them are for the worse. ^°
More recent writers have spoken more boldly. Professor Pollard says:
We have to recognize that the Second Folio ... in a real sense began the work of
lawful and necessary emendation. It is obvious that the emendation was done at
haphazard and that numerous glaring misprints and blunders in punctuation passed
unnoticed. Nevertheless, it was in 1632 that a start was made in re-editing the First
Folio, and thus no survey of the history of Shakespeare's text can be complete which
does not take into account the work of these anonymous compositors and correctors.^^
The fullest summary is that of Mr. Allardyce Nicoll, who says:
I feel that not one, but several, correctors were at work. The printer, evidently, had
his finger in this particular pie; changes in spelling may be attributed to him; and it
' "The Chief Difference between the First and Second Folios of Shakespeare,"
Englische Studien xxx. 4.
1° The Text of Shakespeare (1906), p. 68.
" Shakespeare Folios and Quartos (1909), p. 158.
4 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
may have been the printer who was offended at Shakespeare's bad grammar. . . .
Syntactical changes . . . run right through the volume . . . Plural subjects are given
plural verbs; 'thous' are provided with the proper 'st' inflexions; 'whom' is substi-
tuted for 'who,' and 'who' for 'whom'; stage-directions in Latin are given their proper
endings, so that several characters, when leaving the stage, 'Exeunt' not 'Exit,' just
as they 'Manent' not 'Manet.' . . . Metrical alterations also run through a good part
of this Folio, several of them being exceedingly felicitous, but here they seem to be
patchier than the alterations in syntax. Romeo and Juliet has over seventeen changes
of this type, Titus Androiiicus seven, Henry VI, Part I, twenty-two. Part //eleven,
Part III eight. The Winter's Tale seven; none of the others that I have examined
possess more than one or two. Apparently, there has here been some one working
concernedly at certain plays, not confined to any one section of the volume. But
neither metrical nor syntactical changes exhaust the many alterations in this Second
Folio. Changes made for the purpose of elucidating the sense, sometimes successful,
sometimes unsuccessful, and for the purpose of making clearer the actions of the
characters on the stage, are over four times as many as those made for metrical and
syntactical reasons taken together. In the Second Folio we do first come upon an
attempt to 'edit' Shakespeare. This attempt, however, was not a uniform one.
It may be well here to summarize the changes made in the three sections of the
volume. Among the comedies Much Ado, The Merchant of Venice, A Midsummer-
Night's Dream, and Twelfth Night have been left practically untouched; all the rest
have been fairly carefully worked over, and we note a tendency to pay particular
attention to stage-directions and to classical names and references. ... In all the
comedies which have been touched, moreover, there is a plentiful sprinkling of fresh
stage-directions, evidently from their form the additions of a spectator rather than
of a prompter. Among the histories, only two plays have been seriously considered,
Richard II and Henry V; there are no stage-directions added here, but we recognize
the learned corrector of the comedies in the alterations made in the French scenes of
Henry V. Coming to the tragedies, we find that five plays have been most carefully
worked over, Troilus and Cressida, Titus Andronicus, Romeo and Juliet, Hamlet, and
Antony and Cleopatra. The number of definite alterations rises to seventy-two in
Romeo and is not less than thirty-four in Troilus. Here, again, there is to be traced
the hand of the classical scholar. Hardly a single change is made in the stage-
directions, badly as some cried out for alteration; but all through, Roman and Greek
names are conjured out of the often meaningless collections of consonants and vowels
as the First Folio presented them. . . .
My solution of the question of the Second Folio is, therefore, that, besides the
meddling printer, there were three separate men who went over part of the text:
one who altered five plays for metrical reasons, one who boldly attacked the comedies
in order to improve their stage-directions but got no further than the comedies, and
one who chose certain of the most popular plays for careful examination. This last
man was a student of both Latin and Greek, a man moreover with a considerable
sense of the fitness of things. As Mr. Dover Wilson has shown us that Heminge and
Condell probably had no influence on the text of the First Folio, this man, anony-
mous as he is, must be regarded as Shakespeare's first editor.
The third and fourth folios Mr. Nicoll dismisses briefly: "There
are alterations in them, but for the most part these alterations are
confined to changes in spelling and to a few simple elucidations."^^
'2 Studies in the First Folio (Shakespeare Association, 1924), p. 164-6.
EDITOR AND PRINTER 5
As we think there can be no disagreeing with Professor Pollard's
opinion that "no survey of the history of Shakespeare's text can be
complete which does not take into account the work of these anony-
mous compositors and correctors" of the second, third, and fourth
folios, and since whatever doubts or differences of opinion there may
still be can be settled only by an examination of the evidence in full,
we have undertaken a detailed comparison of the folio texts. Thus we
hope primarily to determine whether or not the later folios may ac-
curately be described as texts which have undergone editorial revi-
sion, and incidentally to show the extent and variety of the diver-
gences between each folio and its successor, to account for their
presence in the text, to evaluate them, and to show what part, if
any, they have played in forming the received text which we read
to-day.
§2
Editor and Printer
A casual comparison of the text of any two successive folios quickly
shows that divergences are very numerous. Even if obvious typo-
graphical errors, insignificant variations in orthography, and changes
in punctuation are neglected, many alterations still remain to be
accounted for. There can be no doubt — there should never have been
any doubt — that none of the folios is a literal reprint of the one before
it and that Johnson's statement that "the first is equivalent to all
others" is greatly overdrawn.
A careful examination of these divergences, however, is at first
somewhat puzzling. One soon discovers intelligent, even acute, emen-
dations, corrections which have been adopted in all subsequent edi-
tions down to the present day. These give one a good opinion of the
competence of the person responsible for them and create at once the
presumption that he was more than a compositor or printing-house
factotum. But at the same time one notices just as many changes,
perhaps even more, that can only be described as arbitrary and
finicking or mistaken and absurd. They are so ill-judged that it is
difficult to reconcile them with the intelligence evinced in the good
changes that appear side by side with them, or they are so unneces-
sary that one wonders why the mind that overlooked (or at least
did not alter) many undoubtedly corrupt passages should ever have
bothered to make them.
After a while, however, a light begins to dawn upon one's per-
plexity. Many of these apparently irresponsible and wrong-headed
changes are typographical errors. This is not to say that the revisers
6 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
who inserted intelligent new readings in the text were incapable of
error, but that many of the deplorable changes are just the kind of
mistake that a compositor will unconsciously make in setting up
type. They are not, of course, gross typographical errors which any-
body would recognize as printer's blunders. They do not obviously
deface the words which they alter: in fact, they usually result in a
series of recognizable English words and most of them make sense,
or a kind of sense, at least. Yet they are not editorial revisions at
all, but the results of slips of the compositor's eye or mind.^
This distinction between obvious or literal typographical errors
and typographical errors which make a kind of sense — unobtrusive
typographical errors, as we shall call them for the sake of distinction
— is an important key to the understanding of the later folio texts.
An obvious typographical error is a mistake like worth for worth or
nohlijh Ejiglijh for nohleft Englifli, which anybody would recognize
as a typographical error at once. But few readers of the F2 version
of Antony 111.xiii.13, "Is this his anfwer," would suspect it also of
containing a typographical error, though, as a matter of fact, we are
convinced that it does. Not until one compares it with the reading
of Fi, "Is that his anfwer?," is one aware of any disturbance of the
text at all. A change like this is not an editorial alteration: it is an
unobtrusive typographical error of a fairly common kind often en-
countered in the folio texts. It is only when one recognizes these un-
obtrusive typographical errors that one begins to understand the
apparent confusion and contradictoriness of a text like F2 and to
reconcile its defects with its merits. We must begin by studying the
compositor's habits and noting the consequent errors to which he
is prone.
When a hand-compositor goes to work, he reads a line or two of his
copy carefully enough to fix it in his mind and then picks out the
appropriate types from the case before him and arranges them prop-
erly in his composing-stick. Four facts characteristic of him at this
work should be borne in mind, (i) After he has committed a bit of
his copy to memory, he is likely not to look at the copy again, unless
he is conscious of forgetting, until he has set up all of that bit. (2) As
he concentrates his attention upon the setting up of a particular
word, he is, for the moment, oblivious of the rest of the passage,
which, however, lurks just below the level of consciousness in his
mind. (3) After he has set up a line of type, he cannot be depended
^ "[Of] all the diversities which the copies [of the folios] exhibit, . . . near two
thirds of them are typographical mistakes, or ... a change of insignificant particles."
— Steevens, ed. 1773, sig. E3^
EDITOR AND PRINTER 7
on to read it over and compare it with the copy. (4) His concentra-
tion upon the details of his technique, such as the justification of
each line of type, as well as a certain monotony in the routine of his
work, tends to lull him into obliviousness of the sense, the whole
meaning of what he sets up and even, perhaps, to induce a more than
ordinarily suggestible state of mind. In the course of this process,
then, defects in his mechanical equipment, his vision, his mind, in-
deed his whole muscular-nervous system will sometimes betray him
into setting up something different from the copy before him or from
the precise sequence of words which he tried to commit to memory
when he read it. The same errors of vision and mental confusions can
be observed in copying, in typing, in composing one's thoughts on
paper, and in memorizing a poem or a speech : most people are prob-
ably more familiar with such lapses in one or another of these forms.
If the compositor is reading bad copy, working in bad light, is hur-
ried, or tired, he is all the more likely to err unconsciously. Obviously
his lapses which make some kind of sense and those which are in-
stantly recognizable as typographical errors proceed, for the most
part, from the same causes and in an analysis of textual changes
must be classed together. It is therefore necessary to recognize the
kinds of accident, mistake, and unconscious mental vagary that
produce unobtrusive variants in the text. To these the kinds of ob-
vious typographical error furnish the necessary clues. ^
For example, the compositor's eye, looking at the copy before him,
will sometimes see a word or phrase different from that which really
stands there, just as anybody, glancing at a piece of printing or writ-
ing, will sometimes misread it. To be sure, a compositor, because he
reads his copy rather carefully, is less liable to visual error than the
man who glances at a newspaper over his neighbor's shoulder, but
even so the compositor will sometimes see wrongly, especially when
the mistake is fostered by association of ideas or when it occurs as he
rapidly glances at his copy to refresh his memory rather than as he
reads it for the first time.
Obviously a letter can be read as another which looks like it, as e
and 0, / and /, i and I, r and / or n, and when the change thus pro-
duced is either mistaken and nonsensical or so unnecessary and fini-
cal that it is hard to imagine a reasonably intelligent human being's
bothering to make it, it may be most plausibly explained as a typo-
2 The varieties of typographical error are discussed by R. B. McKerrow: Intro-
duction to Bibliography (1927), pp. 252-8, E. K. Chambers: William Shakespeare
(1930), i. 176-84, W. W. Greg: "Principles of Emendation in Shakespeare" {Aspects
of Shakespeare, British Academy Lectures, 1933).
8 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
graphical error due to misreading.^ It is always possible, and often
likely, that there were complicating factors: for instance, the letter
which the compositor misread may have been blurred or broken or
faintly inked in his copy.^ Furthermore, in reading, the eye, catching
the beginning and the end of a word, will sometimes infer the rest
without really looking at it, and infer it wrongly. Thus inhibited,
Armes, and reforme may become inhabited, Armies, and redeeme}
Therefore, if such a change is hard to explain on any reasonable
grounds, it is more likely to be a typographical error. In the same
way, a word can be misread as another word exactly like it at either
the beginning or the end, but not both, such as this for his, quejlion
for quejlant, frequence ior fequence.^ That all, or perhaps even many,
of these unconscious substitutions are purely and simply the result
of imperfect vision is not likely; doubtless associations of ideas and
' For examples of this error in F2 see: vngently > urgently Tempest i.ii.444, euen
> ever GentlemeniY. n.Sg, tightly >rightly Merry H7i;e5 i.iii.76, thefe>thofe Much Ado
i.i.40 (also All's Well 1v.iii.36, i Henry IV i.iii.133, Romeo i.i.84, Cymbeline iv.iiit3i),
charg'd >chang'd As You Like It n1.ii.131, cleane>cleare As You Like It n1.ii.387,
know > knew As You Like It iv.iii.8, lowd>lewd Shrew i.i.125, knew > know Shrew
n.i.115, loue>Iove All's Well 11.iii.73, fo>of All's Well 11.iii.119, Mettle>Nettle
Twelfth Night n.v.12, ftores>ftones Twelfth Night 1v.ii.37, his>hir John v.vii.i6,
daube>dambe i Henry 7Fi.i.6, deere>heere / Henry /F v.iii.7, Dagonet >Dagenet
2 Henry IV n1.ii.272, Anthonie>Anthonio Henry V 1v.viii.94, chop>crop 2 Hejiry
F/v.i.135, wild>mild Troilus i.i. 101, hot>not Troihis n.n. 6, pertly >partly Troilus
IV.V.219, teft>rert Troilus v.ii.120, fweate>fweare Troihis v.x.54, Tenip'ring
>Temp'ting Romeo l1.Prol.14, Sit>Sir Tinion in.vi.68, Conceptions > Conceptions
Timon iv.iii.i86, want > wont Timon 1v.iii.414, danke>darke Caesar n.i.263, worthies
>worthies Caes'.r v.i.6i, Pons>Pans Hamlet 11.ii.414, tent>rent Hamlet n.ii.593,
glofre>groffe Othello i.iii.227, grow>grew Antofiy in.xiii. in. (References are to the
Cambridge edition of 189 1-3.)
^ As we are concerned only with Fj, F3, and F4, each of which was set up from a
copy of the previous folio, with some alterations written in, we are not obliged to take
much account of errors due to the misreading of MS. See p. 36 ff.
* All's Well I.i. 137, 2 Henry VI 1v.ix.29, 2 Henry /F v.v.69. For further examples
in Fo see: healthfull >helpefull Errors i.i. 11 5, trees >teares Merchant v.i.8o, within
>wherein All's Well ii.i.175, cars>cares Twelfth Night 11. v. 59, waters >warres John
v.ii.56, helpefull >hopefull Richard II 111.iii.132, forgiuen > forgotten 2 Henry IV
Ep. 20, earthy >earthly 2 Henry VI 111.ii.147, dar'rt>durft 2 Henry VI v.i.95,
figheft >fitteft Troilus 1v.iv.15-6, purpore>propore Coriolaniis i.vi.$o, difproper-
tied >dirproportioned Coriolanus 11. i. 238, fticke>rtrike Coriolani/s v.iii.73. Cour-
tiers > Countries Romeo i.iv.72, hurtled > hurried Caesar 11.ii.22, Horfe>houfe
Macbeth 11.iii.142, Stept>Spent Macbeth 111.iv.137, rmacking>fmoaking Macbeth
1v.iii.59, Charter > Character Othello i.iii.245, ftale>fteale Antony 11.ii.239, Afpickes
>Afpects Antony v.ii.348.
^Gentlemen 11.iv.97 (also Twelfth Night 11.iii.163, v. i.i, Troilus 11.iii.254, iii.i.73).
All's Well Ii.i.i6, Titnon v.i.206. For further examples in Fo see: wooe>move Gentle-
men v.iv.57, life >relfe Richard // v.vi.26, vnto>upon Henry F1.ii.90, Twin > Twine
Coriolanus 1v.iv.15, ay>ah Romeo iii.v.43, when>whom Timon iv.iii.io8, roares
>teares Caesar i.iii.74, Wing > Wine Macbeth i.iv.17, lated>lateft Macbeth iii.iii.6,
well-tooke>well-look't Hamlet 11.ii.83, idle>wilde Othello i.iii.140, Fortreffe> For-
tune Antony 111.ii.31.
EDITOR AND PRINTER 9
other circumstances now irrecoverable played a part. It is probably
significant, for instance, that the substitution in F2 of "Forgetting
any other name but this" for "Forgetting any other home but this"
{Romeo Ii.ii.176), which we regard as prim.arily an error of vision,
occurs at the end of the scene in which Juliet soliloquizes on Romeo's
name. Likewise, the reading of F3 at Richard II ii.i.296, "Away with
me in hafte to RavenfpurgJi," instead of "in pofte" (F2), which we are
inclined to call a visual error, may very well have been due in part
to the similarity in sense of the words exchanged.^
Errors of execution, due to faulty memory, failing attention, and
suggestions of sound and idea, are still more common. The simplest
kind is an omission. An unimportant or inessential word may simply
fail to fasten itself in the memory; any word or phrase may be lost
through a slackening of the attention much like the phenomenon of
losing one's place in reading. Likewise a letter or several letters may
be omitted — a prefix, a suffix, or a medial syllable. When such an
omission leaves out a significant word, the damage done thereby is
evident, though just what word has dropped out may not be. But
the omission of an inessential word might easily escape detection
except upon careful collation of the reprint with the copy, e.g.:
Fi: Make me not lighted like the Bafilifque.
I haue look'd on thoufands, who haue fped the better
By my regard, but kill'd none fo:
F2: Make me not lighted Hke the Bafilifque.
I look'd on thoufands, who have fped the better
By my regard, but kill'd none fo:
Winter's Tale i.ii.389
Fi: He is not yet arriu'd, nor know I ought
But that he's well, and will be fhortly heere.
F2: He is not arriv'd, nor know I ought
But that he's well, and will be fhortly heere.
Othello ii.i.89
Fi: Take thou no care, it fhall be heeded.
F2: Take no care, it fhall be heeded.
Antony v.ii.266
Fi: I haue | your commendation, for my more free entertainment.
F2: I have I your commendation, for my more entertainment.
Cymbeline i.iv.149
Since there is no conceivable reason for the deliberate omission of
^ For examples (in F2) of the substitution of a word or phrase which the com-
positor's eye evidently picked from the context see: foes >death 2 Henry VI in.ii. 182,
Andren>Arde Henry VIII 1.1.7, Corio. >Com. Coriolanus ni.i.242, I haue>I have:
'tis ready Coriolanus m.iii.ii, you fpeake>what noyfe is that? Hamlet iv.v.144.
10 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
such words as these, the change is best explained as an error of the
printer.^ A predisposing cause for the omission of a word is the pres-
ence of it near by in the text: if he has but recently set it up the
compositor may be just a little more likely to forget to repeat it.
On this account, "let him partake in the glory of action" (F2: Antony
111.V.9) for "let him partake in the glory of the action" (Fi) may be
explained as a typographical error. ^
Prefixes and suffixes, syllables, and letters may be unconsciously
omitted in similar ways. A letter dropped out of the F2 version of
Tempest iv.i.182, which reads "Fth' filthy mantled pooIe beyond
you Cell" instead of the "your Cell" of Fi. This would be obvious
to anybody. But the similar omission of a letter will sometimes make
no apparent difference in the meaning and go quite unsuspected ex-
cept for careful collation of the texts. Take, for example, one of the
commonest kinds of omission of this sort, that of the plural ending
-s, as in the F4 version of Richard III 1v.iv.512, "by fuddain Flood,
and fall of Waters," where F3 reads "Floods." As it is very difficult
to imagine a motive for making such a change deliberately and as
the possibility of the compositor's accidentally leaving off such a
letter, on the evidence of the Tempest passage and others like it,
is undoubted, the latter is surely the better explanation.^"
* For further examples of such omissions in F2 see: fo Tempest i.ii.91, at once
Gentlemen i.i.124, fmall Merry Wives i.i.44, owne Errors ni.i.14, away Labour's
iv.iii.i88, once Dream 11. i. 149, a Merchant i.ii.51, and Merchant iv.i.ii6, the As You
Like It i.ii.129, in As You Like It i.ii.153, the As You Like It 111.ii.162, the All's Well
i.i.170, yet All's Well ni.iii.4, not Twelfth Night ii.v.145, am Winter's Tale i.ii.412,
and Winter's Tale n.i.141, go Winter's Tale in.iii.7, fhall i Henry 7F'i.ii.i66, heere
2 Henry IV i.'i.i, come 2 Henry /F'i.ii.126, fhall 2 Henry F/i.iv.26, the Henry VIII
n.iv.42, els Henry VIII 11.iv.140, O Henry VIII ni.1.42, doe Troilus i.i.29, into
Troilus 1v.iv.45, how Titus ii.i.45, in it Titus 1v.iii.77, is Romeo ni.v.133, in Timo?i
ni.v.97, Lord Timon v.i.125, is this Caesar i.iii.137, a Macbeth i.ii.47, I meane Mac-
beth 1v.ii.33, then Hamlet I.i.i6i, I doe Hafitlet i.v.184, and held me hard; Hamlet
n.i.87, me Hamlet v.ii.27, them Hamlet v.ii.251, haue Hamlet v.ii.383, it Lear
v.iii.224, Valiant Othello i.iii.47, to Othello i.iii.324, more Othello in.i.13, \eait Othello
1v.ii.37, enchanting Antony i.ii.125, not Antony I.iv.i6, thou Antony v.ii.266, euer
Cymbeline ii.iii.2.
° For further examples in F2 see: his Labour's n.i.69, I Merchant n1.ii.232, to
I Hetiry IV ii.i.86, he Henry V iv.iv.6o, vnto i Henry VI 11. v. 19, I j Henry VI i.i.
273, away Troilus v.iii.88, for Hamlet 111.ii.298, to Antony v.ii.224.
1° For further examples in F2 of the omission of letters at the end of a word see:
mak'rt>makes Tempest i.ii.470, One>On Tempest ii.i.15, Cuckoldly> Cuckold
Merry Wives n.'n.24s< richly >rich Much Ado v.i. 2^4, thereto >thereI,aioz<r'5V.ii. 446,
feeke>fee As You Like It ni.i.3, brings>bring As You Like It 1v.iii.79, there>the
Shrew iv.i.115 (also Timon i.i.162, Cymbeline n.ii.22), goes>goe Twelfth Night
v.i.231, banil'ht >banifh Twelfth Niglit \. '1.274, leffer>leffe John 1v.ii.42, fprightfully
>fprightfull Richard II i.iii.3, their >the Richard II i.iii.220 (also Richard II ni.iii.
76, Timon 1v.iii.32), into>in i Henry /Fi.iii.266, ftands>rtand Henry Fn.ii.103,
fairely >faire Henry Fv.ii.io, Winters >Winter j/fewrj F/v.vii.17, nobler > Noble
EDITOR AND PRINTER 11
Another kind of evident typographical error is transposition. The
unconscious transposition of adjoining words ("That chaine I will
beftow" for "That chaine will I beflow" or "to be but Duke of
Lancafter" for "but to be Duke of Lancafter")^^ is a phenomenon
which anybody who has ever tried to memorize either verse or prose
will have no difficulty believing in. Letters and syllables within a
word can also be transposed, quite obviously in Tarjfell (F2: Merchant
i.ii.54), where the compositor intended to set up TraJJell (Fi) ; less
obviously in
It is no matter, let on Images
Be hung with the Cxfars Trophees: (Fo)
for "no Images" (Fi: Caesar i.i.69); and still less obviously in
Imagin'd wroth
Holds in his bloud fuch fwolne and hot difcourfe,
(Fi: Troilus Ii.iii.167) for "imagin'd worth" (Q).^' Furthermore, as
any connoisseur of Spoonerisms will testify, syllables in adjoining
words can be transposed in the same way and thus bring about sub-
stitutions like u'heeles become for wheele becomes (Hamlet iv.v.169).
The unconscious repetition of a letter, syllable, or word usually
makes an obvious typographical error, but sometimes a repeated
word slips readily into the sense of the passage or produces an in-
Henry VIII i.ii.i 75 (also Troilus i.iii.37), You'ld >You'l Henry VIII 11.iii.47, Arch-
bifhops (possessive) >Archbifhop Henry VIII iv.i.104, comes>come Troilus v.ii.6,
how>ho Troiltcs v.iii.83, boafting>boart Coriolantis ii.i.18, yvart>was Romeo n.iv.
73, Ile>I Romeo ii.v.43 (also Lear n.iv.285), comforts > comfort Timon v.i.129,
liues>live Hamlet i.ii.72, wretched > wretch Lear v.i.42, Carract >Carrac Othello
i.ii.50, and>a Othello iv.i.185, you'l>you Antony li.n. $6, wherein >where Antony
iv.vi.38, makes>make Cymbeline 1n.vi.20, not>no Cymheline 1v.ii.388.
For examples in F2 of the omission of a prefix or initial letter(s) see: your>our
I Henry VI ii.i.63 (also Romeo i.v. 135), thence >hence 2 Henry VI 111.ii.359,
vpon>on Romeo v.i.71 (also Macbeth i.ii.39), a making >making Macbeth 111.iv.34,
fhe>hee Lear 11.iv.121, thither >hither Antony iv.xv.9, flight>light Cymbeline
m.v.3S.
For examples in F2 of the omission of a medial letter or letters (where visual error
may well be a factor too) see: meet>met As You Like It iii.v.29, thoroughly >
throughly Shrew i.i.138, furely>furly Shrew 1v.ii.65, extracting > exacting Twelfth
Night v.i.273, Cantherizing>Catherizing Timon v.i.131, Noble Gentlemen > Noble-
man Lear i.i.23, Louers>Loves Othello 1n.iv.175, ftrangler >ftranger Antony ll.vi.
118, leart>laft Cymbeline n1.iv.147, wager'd>wag'd Cymbeline v.v,i82.
^^ Errors in. i. 117, / Henry IV iv.iii.6i. See also (in Fj): Sir my doublet>my
doublet Sir Tempest ii.i.96, poore a>a poore As You Like It i.i.2, (no doubt) vs>us
(no doubt) Richard III 111.vii.170, Is it>It is Romeo n.iv. 107, Gracious my>My
Gracious Macbeth v.v.30, fhalbe to him fhortly>fhall to him fhortly bee Othello
l.iii.346-7. At Caesar iv.iii. 254-5 parts of two successive lines are transposed.
"See also (in F2): is't>it's John iv.i.23, tis>it's Henry VIII Ep. 5, 'ift>'tis
Romeo i.v.81.
12 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
telligible, though sometimes a different, reading. Thus "I would that
I might thanke you, as, as, you call me" (Fi: Richard III iii.i.123)
for "I would that I might thanke you, as you call me" (Qq) is the
result of exactly the same process of error as "Gainft my Captivity:
Haile: haile brave friend" (F2: j\Iacbeth i.ii.5) for '"Gainft my
Captiuitie: Haile braue friend" (Fi), but the latter makes perfectly
good sense and could even be regarded as a deliberate metrical cor-
rection which adds a tenth syllable to a nine-syllable line. In view,
however, of other examples of the same kind of repetition, it is more
simply and credibly explained as unconscious.^^ In both of these
examples the mistake occurs in the second half of the line. We have
so often noticed typographical errors of various kinds in this position,
near, but not at, the end of the line, that we are inclined to regard
it as the point at which the compositor's memory is most fallible and
more readily to call puzzling changes which occur there typographi-
cal errors.
Certain other substitutions may be explained as due to various
kinds of suggestion operating in the compositor's mind upon a word
or phrase on which his memory, so to speak, has lost its hold. If the
compositor, without, of course, being aware of the fact, has retained
but a faint or imperfect recollection of the word that stands in his
copy, it may, through the operation of unpredictable associations of
ideas, be supplanted by another word which resembles it in either
sound or sense, or even, through a curious process of the attraction
of opposites, by a word of contrasted meaning.
For example, at Tempest 11.ii.122 F2 reads "thou art made life a
Goofe." This is nonsense: the correct reading is, of course, that of
Fi and F3, "thou art made like a Goofe." As an explanation of such
a manifest typographical error, visual error or foul case is possible,
but as / does not look like k or lie near it in the compositor's case,
it seems more likely that the compositor's memory rather than his
eye was at fault. All unknown to him, his memory retained but an
imperfect recollection of the sound of the word in the copy so that
when he came to set it up he recalled, instead of like, another word
resembling it in sound. Errors of this kind have sometimes been ex-
plained as the compositor's mishearing some one who dictated to
him from the copy, but as there is no external evidence of such a
practice of dictation in seventeenth-century printing offices, the
assumption of inaccurate auditory memory, which is a quite suffi-
'^ See also (in F2): be Labour's i.ii.148, and Richard II Ii.i.i6i, to Henry V v.ii.300,
all are [all is repeated; are interpolated] Timon ni.iii.6, too Lear i.i.291, dead Othello
v.ii.284.
EDITOR AND PRINTER 13
cient explanation, is more satisfactory. In the same way we should
explain the reading of F3 at Romeo i.iv.91, "and bakes the Elf-locks
in foul fluttifh haires, which once entangled, much misfortune bodes,"
where F2 reads "once untangled" ; the interchange in the compositor's
mind of two words almost identical in sound has reversed the sense
of the clause. The same kind of error is responsible for the absurd
reading of F3 at Antony 1v.viii.39:
That heaven and earth may ftrike their founds together,
Applauding our reproach.
instead of "'Applauding our approach" (F2). It is as if the sound of
approach faded in the compositor's mind and when he called on his
memory to furnish him with the word it served up a counterfeit or
makeshift, a word of quite different meaning which, however,
sounded just like it except for one unaccented syllable. ^^ Obviously
he could not have been thinking of the sense of the passage when he
set up reproach, but then a compositor or copyist, working half-
automatically, can never be depended upon to keep fully alive to the
sense of what he sets up or copies.
The words thus confused by the compositor are sometimes much
alike in meaning too, and even when they introduce a drastic change
of meaning, they usually belong, at least, to the same part of speech,
as m.y and thy, would and could, or bear some resemblance to each
other in meaning, as Godfathers and Grandfathers}^ These changes
are all either irresponsible or very, very wrong and they are so un-
necessary that it is difficult to account for them as deliberate cor-
rections even on the most fanciful grounds.
The substitution of a word similar in sense to that which it re-
places is due to imperfect memory: the compositor remembers, ex-
actly or approximately, the idea that stands in his copy but not the
language in which it is expressed. Such a substitution rather seldom
1* "Every compositor when at work reads over a few words of his copy, and retains
them in his mind until his fingers have picked up the various types belonging to them.
While the memory is thus repeating to itself a phrase, it is by no means unnatural,
nor in practice is it uncommon, for some word or words to become unwittingly sup-
planted in the mind by others which are similar in sound." — Blades: Shakspere and
Typography (1872), p. 72.
1^ My and thy are confounded at Richard II v.i.47, Richard III ii.ii.6i, Coriolanns
iv.v.70, Romeo n.i.2, Othello 11. i. 206, Antony 1v.xiv.69; could and would at Timon
in.iv.51; Godfathers and Grandfathers at Richard III i.i.48. See also (in F2): Solinus
>Salinus Errors i.i.i, work's >workes Coriolanus i.i.53, fore>for Coriolanus iv.iv.3,
fhould'ft >could'rt Coriolanus iv.v.73, my>me Romeo i.v.16, Lards >Lords Timon
1v.iii.12, pittious>hideous Hamlet n.i.94, o'reway >o'rerway Hamlet 111.ii.27, light >
Vike Antony i.ii.170, How>Oh Antony m.ii.ii, righes>rides Cymbeline i.vi.66, ftrait
>ftraight Cymbeline v.iii.7.
14 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
makes an obvious typographical error. It usually results in an in-
telligible reading and quite often does not materially alter the sense
of the passage, so that it would not be suspected except upon colla-
tion of the texts. The word substituted is usually, but not always,
the weaker, more familiar, less emphatic. Many such changes are
very trifling — the indefinite for the definite article, an article for a
demonstrative or possessive pronoun, which for that, a plural for a
singular, one preposition for another, will for jhall, can for could,
Jaieth f or faies , farther ior further, and the like. Sometimes a synonym
is substituted, such as onely for alone, hardly for fcarfely, reniaines
for remnants}^ The frequency of such substitutions seems to warrant
the assumption that less exact equivalents, such as "much ignoble
ftooping" for "moft ignoble ftooping," truely ior freely, "more will-
ingly" for "too willingly," "fweet love" for "fweet foule," can be
confused in the same way.^'^
The substitution of a word of opposite or contrasting meaning is
difficult to explain, but there seems to be no doubt of its occasional
occurrence. For instance, Imogen's speech to Belarius at Cymbeline
v.v.400, "You are my Father too, and did releeue me," turns up in
F2 as "You are my Mother too." It is very difficult to regard this as
a deliberate correction: Imogen's meaning is plain, while the pro-
priety of calling Belarius her mother is extremely dubious. In conse-
quence, this change can be explained only as a typographical error.
It is not, of course, a common kind of error, but there are enough
examples of it to establish a presumption that, when the compositor's
memory fails him, without his knowing it, a word opposed in mean-
ing to that which eludes him can usurp its place. ^^
Another kind of typographical error occurs when a word in the
text makes such a strong impression on the compositor's subconscious
mind that it subjugates, or casts a spell over, his memory of some
neighboring word. As a result, either one of two things may happen:
the outstanding word may usurp the place of the other and thus
repeat itself, or it may attract the weaker word into a form more
1^ All's Well 11.iii.35, Richard III ii.iii.2, Much Ado 11.iii.215. See also (in F2): and
>or Twelfth Night v.i.330, are>be Winter's Tale n.i.13, Cloakes>Cloathes Caesar
ii.i.74, impeides thee>thee hinders Macbeth i.v.25, yongeft >yonger Lear i.i.45.
1' Tempest I.ii.ii6, Measure i.iv.82, Much Ado i.i.87, Merchant v.i.49. See also
(in F2): grieuoufly> heavily Gentlemen 111.ii.14, blunts >blots Errors ii.i.93, ftraines
>ftrings As You Like 7/iv.iii.68, tell truth >tell trueyl//'5 Well i.iii.211, more>much
Winter's Tale n.iii.177, to>and Richard 7/ v.vi.46, fights>rignes Macbeth Iii.iv.ii6,
indued > deduced Hamlet iv.vii.i8o, to>the Othello 111.iv.77, great >good Antony
11.vi.92.
" See also (in F2): head>heart Tempest ni.ii.8, headis>handis Richard II ii.i.
loi, n1.ii.126, our>their Richard \ll 1n.ii.34.
EDITOR AND PRINTER 15
like its own, "Few come within few compaffe of my curfe" ^^Fi:
Titus v.i.126) for "within the compass" is an obvious example of
the first;
This hand of thine hath writ in thy behalfe,
And therefore Ihall it charme thy riotous tongue.
(F2: 2 Henry VI iv.i.63)
for "This hand of mine" (Fi), in a passage bristling with th's, of the
second. This attraction can also be exercised by a word which follows
rather than precedes the word attracted, as in "Kneel'd and my feet,
and bid me be aduis'd?" (Fi: Richard III 11. i. 107) for "Kneel'd at
my feet," or in "thou you come" (F2: 2 Henry /Fiv.iii.27) for "then
you come" (Fi), or in "while he'll anfwer nobody" (F4: Troilus iii.
iii.266) for "why hee'l anfwer" (F3), or in "fhe fhouldft be aduan'ft"
(Fi: Romeo iv.v.72) for "she should be advanced." Sometimes the
first letter or syllable of a word attaches itself to the end of the pre-
ceding word or the last letter or syllable to the word following, as in
"If followes" (F2: Richard III i.i.59) for "It followes" (Fi) ; "His
fword upon you" (F3: Henry VIII 111.ii.156) for "His word" (F2) ;
"To get this place" (F2: Othello i. iii. 387) for "his Place" (Fi) ; "My
heart was to thy Rudder tyed by'th' firings, | And thou fhould'ft
ftowe me after" (Fi: Antony 111.xi.58) for "shouldst tow me" (Rowe).
This error, however, is by no means always obvious; an ordinary
reader might pass over "If fhe be in your Chamber, or your houfe"
(F2: Othello i.i.139) for "in her Chamber" (Fi) or "Some other
Miftreffe hath fome fweet afpects" (F2: Errors ii.ii.iio) for "hath
thy fweet afpects" (Fi) or "Laugh at this Challenge" (F2: Antony
IV. i. 6) for "his Challenge" or "By all the operations of the Orbes"
(F2: Lear i.i.iio) for "operation. "^^
1' For further examples in F2 of the substitution of a word which stands near by
in the text see: my>thy Gentlemen i.i.19, buried >loft Gentlemen ii.i.21, rare>all
Gentlemen V.iv.i6i, And>I Measure v.i.482, he>it Much Ado i.i.74, this>the Much
Ado II. iii. 100, out>not Merchant 11.ii.73, moft>no As You Like It 111.ii.264, faults>
fault Shrew i.ii.86, as>what Shrew ii.i.66, ray>faid All's Well 11. iii. 37, this>the
All's Well II. iii. 176, the>that All's Well 1v.iv.3s, |for>of All's Well v.iii.210, from
a > no I Henry VI i.'ii. lo^,, your >my i Henry VI iw.i. 6s, not>no 2 Henry F/v.i.93,
thy>my Richard III i.ii.203, of>and Henry VIII 11.iv.46, as>are Henry VIII
lll.i.22, we>he Coriolanus v.vi.57, teene>teeth Romeo i. iii. 14, you>your Romeo
III. ii. 104, when>then Timon il.i.17, our>or Othello i. iii. 330, your>the Antony
n.vii.27, our>my Antony 111.xiii.175, in>a Antony 1v.ii.39, not>no Cymbeline
1v.ii.273.
For examples (in F2) of attraction see: to>and Gentlemen iii.ii.8i, when>where
Gentlemen v.ii.50, our>your Measure i. iii. 49, beene>bid Errors iii.i.46, moodie>
muddy Errors v.i.79, but>beene Errors v.i.399, morall>mortall Much Ado i. iii. 10,
he>we Dream ii.i.59, the>these Dream iv.i.88, her>his Merchant iv.i.263, for
>from Merchant v.i.131, no>not As You Like It 111.ii.251 (some copies), which >
whofe As You Like It iv. iii. 112, lamentation > lamentations All's Well i.i.48, neither
16 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Another kind of typographical error is due to what may be called
automatism. After the compositor has set up a word, through force
of habit he goes on adding more letters to it until he has set up a
longer familiar word which includes the word that stands in his copy.
This phenomenon is well known to writers and copyists. It accounts
for a reading like "If you can penetrate here with your fingering,
fo" (F2: Cymheline ii.iii.13) fo^ "if you can penetrate her" (Fi).
More often, however, the longer word is perfectly intelligible in the
context, as when a plural noun is substituted for the singular, and
sometimes it does not affect the meaning in the least, as when
whilst is substituted for ivliile, amongst for among or yonder for yondP
Sometimes, too, the compositor will unconsciously interpolate a
word in the line he is setting up. This error is due to uncertain mem-
ory and the influence of habit and is observable in all kinds of mem-
orizing. The word interpolated usually suits the context, as in "I will
furnilli it anon with the new contents" (F2: Tempest 11.ii.133) ^o^
"with new Contents" (Fi) or "Gozemore, feathers and Ayre" (F2:
Lear 1v.vi.49) fo^ "Gozemore, Feathers, Ayre" (Fi).^^
More or less unobtrusive typographical errors are facts of very
common experience to those who deal with the mystery of printing,
and it may seem strange that the editors of Shakespeare, whom one
would certainly include in this class, have not made better use than
>never AlVs Well i.iii.115, thine>mine AWs Well i.iii.175, hand>hands John
II. i. 494, fubiect >fubjects John 1v.ii.171, cold>coole Richard //i.i.47, warre>\varres
Richard II ii.i.173, my>thy Richard II ii.iii.ioo, my>the Richard II iii.ii.io,
fubornation >fubornations / Henry IV i.iii.163, Payment > payments i Henry IV
I.iii.i86, pannier > panniers i Henry IV ii.i.25, full >\vofull Henry Fiv.iv.66, turne>
returne i Henry V/ v.ii.3, the>to 2 Henry VI 1v.iv.57, pleafure>pleare j Henry VI
111.ii.22, the>thy Richard III I.ii.i88, o'th'>to'th' Henry VIII 111.ii.58, we>the
Troilus 111.ii.125, backe>backs Troilus v.i.i8, rorrovv> for rows Titiis 111.ii.38, thy >
my Romeo 11. i. 2, world > worlds Romeo v.iii.112, womens>womans Caesar i.i.23,
Friend > Friends Caesar i.ii.36, was>were Caesar i.ii.235, Houfe>Houres Caesar
111.iii.37, combuftion >combuftions Macbeth 11.iii.56, Hedge>Hedges Macbeth iv.i.2,
iuft. .. Attend >beft... Before Macbeth v.iv.14-5, Forme >fortune Hamlet iii.i.159,
our>your Hamlet 1v.vii.34, his>this Othello i.iii.387, reuell >revells Atitony i.iv.5,
make>take Antony 11.ii.57, the>thy Antony 11.ii.122, the>his Antony 111.vi.31,
that>this Antony 111.xiii.13, with>his Cymheline iv.iv. 14.
"^^ Errors v.i.205 (also All's Well 11.iii.40), Wi^^ter's Tale i.ii.253 (also i Henry VI
11.V.47), Troilus v.u.go. See also (in F2): Flatterer > flatterers Tempest iii.iii.8, after-
ward >afterwards Much Ado v.iv.ii6, a night >a nights As You Like It 11.iv.45,
Chamber > Chambers Twelfth Night i.i.29, Accufation >Accurations Wijiter's Tale
111.ii.29, Friend > friends Winter's Tale 111.ii.67 (also Othello iv.i.3), eare>eares
Richard II ii.i.20. Pudding > Puddings / Henry IV 11.iv.437, humble > humbled
1 Henry VI iv.ii.6, matter > matters i Henry VI v.iv.ioi, Souldier >Souldiers
2 Henry VI v.ii.36, Sonne >Sonnes Richard III v. v. 26, hand>hands Henry VIII
iv.i.14, employment >employments Timon 1v.iii.261.
2^ For further examples (in F2) see: the Dream v.i.125 (also Caesar i.i.70), a All's
lFe//i.iii.87, now Henry F//7ii.iii.36, I Timon i.i.180.
EDITOR AND PRINTER 17
they have of an understanding of the variety of ways in which a com-
positor may unintentionally depart from his copy.^^ The processes
of error we have described are not new discoveries. We have called
particular attention to them because it is impossible to adjudge ac-
curately the variants in the later folios without an understanding of
them and because a comparison of the folio texts affords an excellent
opportunity to study them. To demonstrate that they are at work
everywhere it is necessary only to appeal to experience. Whenever
a human being attempts to reproduce language in any form what-
soever, his mind, the instrument of reproduction, may betray him
into misrepresenting his own thought or the original which he aims
to reproduce in the ways described above. Students of Shakespeare,
e.g., find the same processes at work in successive quartos. That more
examples of their consequences do not appear in present-day books
is due simply to more efficient methods of composition and proof
reading. Even so, occasional slips of exactly the same kind now and
then get into print. There is a capital example of the substitution of
a word present near by in the context in Chambers's Elizabethan Stage
(iii.335) — "The evidence for Haughton's evidence," where Sir Ed-
mund certainly intended, and very likely wrote, "The evidence for
Haughton's authorship. "^^
It is really errors like these, psychological errors on the part of the
compositor, that are responsible for a large number of the variants
between one folio and the next. They are also responsible for the
obloquy which some commentators have poured out on the later
folios: they are the "capricious alterations" which, according to
Malone, disfigure F2. Consequently, we found that our first task
was to separate them from the intentional changes in the texts of
Fo, F3, and F4 and to discard them, for obviously they are no part
of the work of Shakespeare's earliest editors.
This has proved to be the most difficult part of our work. There
is no infallible way of deciding whether a textual change is the result
of chance or intention : the possibilities of error in the printing process
are legion and no one can pretend by analysis or intuition alone to
explain unerringly every divergence between the printer's product
and the copy from which he worked in its uncorrected form. We do
22 Some of them have explicitly recognized the phenomena described above: see
Keightley's Shakespeare-Expositor (1867), p. 58 ff. The recent edition of Sir Arthur
Quiller-Couch and Professor J. Dover Wilson, still in progress, is notable for its use
of them as criteria to test the likelihood of error in passages for which emendations
have been proposed.
22 The vicissitudes of one phrase, "And no such matter?" (2 Henry IV Ind. 15),
are another example. In Rowe's second edition of 1709 this appears as "And no
much matter" and in Steevens's edition (1793) as "And fo fuch matter?"
18 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
not suppose that our decisions are invariably right or that every one
will spontaneously agree with all of them. In particular, we confess
that we have found a number of textual changes lying so near the
line which separates the deliberate from the accidental that we
cannot call them either with full confidence. Such changes are these:
Fi: Hath he not loft much wealth by wrack of Tea,
F2: Hath he not loft much wealth by wracke at Sea,
Errors v.i.49
Fi: Here on my knee, before high heauen and you,
F2: Here on my knee, before high heavens and you,
AlVs Well l.iii.183
Fi: he may | keepe it ftill at a Face-Royall,
F2: he may | keepe it ftill as a Face-Royall,
2 Henry IV i.ii.23
Fi: Thefe cheekes are pale for watching for your good
Fo: Thefe cheeks are pale with watching for your good
2 Henry F/iv.vii.79
Fi: Thefe are the Brethren, whom you Gothes beheld
Aliue and dead, and for their Bretheren flaine,
Religioufly they aske a facrifice:
F2: Thefe are the Brethren, whom you Gothes behold
Alive and dead, and for their Bretheren flaine,
Religioufly they aske a facrifice;
Titus i.i.122-4
To us there seem to be equally good reasons for regarding these
changes as either deliberate or accidental. A compositor's sub-
conscious mind could have easily substituted "wracke at Sea" for
"wrack of fea"; on the other hand, it is not hard to imagine that the
reading of Fi struck the reviser as odd and that he deliberately cor-
rected it to "wracke at Sea." "High heavens" for "high heauen"
may be a lapse of memory on the part of the compositor or it may
be a fancied improvement inserted by a reviser with notions of his
own about propriety of style. "Still as a Face-Royall" (a reading,
by the way, adopted in the Oxford edition) for "ftill at a Face-
Royall" may be an error of the compositor's eye or, as it is the more
usual phrase, of his mind or it may have been deliberately substi-
tuted by a reviser who thought at was not clear or was a misprint
for the more usual as. The expression "pale with watching" may
have unconsciously usurped the place of "pale for watching" in the
compositor's mind or it may be the emendation of a reviser who did
not understand or did not like this somewhat old-fashioned use of
for or who objected to the repetition. It is easy for a compositor to
interchange the present and past tenses of the same verb, especially
EDITOR AND PRINTER 19
when they differ only in a single vowel and either, on a superficial
reading, is tolerable in the context, as in behold for beheld. But in
the passage from Titus, considering the corrupt form of line 122
(modern editions read "their brethren," i.e., the brethren of those,
with the quartos), behold is a plausible editorial correction, for the
Goths and the living and the dead brothers are all present. In Timon
(v.i.124) the reading of Fi, "bring vs to him And chanc'd it as it
may," appears as "chanc'e it as it may" in F2. Chance is the correct
reading according to all subsequent editions. Who can say whether
the reading of F2 is a deliberate correction in which the blundering
compositor retained the apostrophe of the text before him, or a mis-
print which happened to restore, or closely approximate, the true
sense? Likev/ise the change in Henry VIII i.iii.14, "Their cloathes
are after fuch a Pagan cut too't" (F2), which becomes too' in F3,
may be the result of an accidental dropping out of the final / or of
a deliberate correction by the reviser, in following which the com-
positor carelessly retained the apostrophe. That the simplest kind
of typographical error will sometimes make sense is demonstrated
by Titus 1v.iv.37. In Fi and the quartos this reads:
But Titus, I haue touch'd thee to the quicke,
Thy life blood out:
In F2 out becomes ant. The simplest explanation, which we are in-
clined to adopt, is that the n of ont is a turned u, but this typo-
graphical blunder, if such it is, makes good enough sense to be
adopted, with the necessary apostrophe supplied by F3, in the Arden
edition.
Changes like these are real dilemmas; there is, unfortunately, no
litmus-paper test for the errors of the compositor's subconscious
mind. Nevertheless we have tried to the best of our ability to ascer-
tain the reason for every change which we have found and to classify
it accordingly. In doing so, we have been obliged to set up the follow-
ing more or less arbitrary criteria for determining whether a change
in the text is deliberate or accidental. We regard as intentional:
I. A change adopted by many or all modern editors or a change
which restores the right sense in a corrupt passage even though it
has been superseded in modern editions by the reading of a more
authoritative earlier text or by a more acceptable conjectural emen-
dation. Very possibly we have classified some accidental changes as
deliberate by following this rule, but the percentage of error thus
introduced must be quite small. It may have happened a few times
that a change made unconsciously by the compositor so convincingly
improved the text that modern editors have uniformly followed him;
20 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
it is incredible that an unconscious alteration could often have done
so.
2. Unnecessary and arbitrary stylistic changes not vitally affect-
ing the meaning, v/hich might suggest one of the kinds of unobtrusive
typographical error specified above, if they can be accounted for on
some reasonable theory of the reviser's notions of propriety of style,
however mistaken such notions may be considered to-day. We have
tried to indicate the motives which, we suspect, underlie such
changes, but limitations of space do not always permit as full a
statement of our opinion as might be desirable. This principle is dis-
tinctly fallible; we confess that we have but a shaky kind of confi-
dence in many of the judgments which we have formed on this basis.
It would have been simpler, no doubt, to consider all of these as
typographical errors, but to escape the charge that we have attrib-
uted the mistakes of the reviser to the compositor, we classify such
changes as deliberate when we can detect, or think we can detect,
some glimmer of reason behind them.
3. The omission of a redundant word or of a word whose presence
in the text could have been explained as unconscious repetition on
the part of the compositor of the previous text.
4. The omission of a word or syllable which, without altering the
meaning of the verse, brings it closer to the ten-syllable norm.
5. In questions, a transposition which puts the verb before its
subject.
Any other textual change which seems to conform to one of the
types of unconscious error described above we regard as uninten-
tional.
In separating deliberate from unintentional changes, we also give
some weight to the character of the folio concerned. F2 is obviously
so badly printed and seems to have received so little proof reading
after it was set up that in it we are not surprised to find every con-
ceivable kind of typographical error in plentiful numbers. Its editor
or editors, however, show so much good judgment in their undoubt-
edly intentional alterations that we are inclined to attribute trifling
changes of doubtful origin to the compositor. F3 does more credit to
the printing house which turned it out and is largely free from gross
typographical errors. But from the fact that it unintentionally
omitted a great many words, we infer that the proof reading given
it was not sufficiently careful to catch unobtrusive compositor's
errors. The editor, furthermore, was not nearly so aggressive as the
editor of F2 and did not feel free to go further than to correct blun-
ders that make nonsense of the meaning, grammatical improprieties,
EDITOR AND PRINTER 21
and archaic diction. Consequently we expect a fairly large proportion
of unconscious errors on the part of the compositor in F3. F4 is the
best printed of all except for some falling off in accuracy towards
the end of the book. The editor, furthermore, though shrewd, was a
pedant. We are therefore inclined to attribute a smaller proportion
of trifling changes to the compositor.
Besides typographical changes, we also leave out of account mean-
ingless orthographical variations, such as deliver for deliuer, jet for
iet, ufe for vfe, then for than, and all insignificant changes in spelling
(except changes in the spelling of proper names which seem to us to
imply some knowledge of history) ; variations in typographical prac-
tice, such as the use of italics, capital letters, etc. There is no reason
to suppose that these are due to anybody but the compositor or the
printing-house corrector.
By applying these criteria, then, we have attempted to distinguish
the deliberate editorial changes in the later folios from the almost
equally numerous changes which are unobtrusive compositor's mis-
takes. That we have done so infallibly is highly improbable; if we
could reconstruct every step of the process through which each folio
passed in the printing house we should no doubt discover that many
of our attributions are wrong. But our errors of commission cannot
seriously vitiate the results: neither adding all the changes which we
have doubtfully classified as compositor's errors to our lists of de-
liberate but mistaken corrections, nor transferring all doubtful de-
liberate changes to the category of typographical errors, would in
the least affect the answer to the first question we proposed to our-
selves, whether or not the later folios really underwent what can
fairly be called editorial revision.
We are, of course, aware that our methods have had the effect of
attributing to the printing house a large number of mistaken and
arbitrary changes in the later folios which hitherto, if we rightly read
the opinions of the scholars quoted above, have been charged against
their editors. We can only say, as deferentially as possible, that we
have sometimes wondered whether the editors and textual students
who have branded the changes in the later folios as ignorant and
capricious alterations, arbitrary, needless, and incompetent, have
ever really faced the question of what constitutes a typographical
error. Our own criteria, based on the results of previous research as
well as on careful study de novo of the types of textual change, take
into account, we believe, a larger number than has been usual of
the manifold possibilities of error in the printing process and, we
hope, assign to their true cause more of those unconscious slips of
22 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
mind and hand by which a printed text deviates from the copy from
which it was set up.
What remains after these subtractions is the work of Shakespeare's
seventeenth-century editors — -all the deliberate alterations, all the
editorial emendations, right and wrong, in the folio texts. These we
set forth and study below.
§3
Classification and Method of Procedure
Our data are displayed extensively in the second part of this
treatise, where the reader can see for himself what the editors of the
later folios did to the text. There we list some 1600 deliberate changes
in F2, 900 in F3, and 700 in F4. These lists, with the exceptions speci-
fied above, are as complete as we have been able to make them.
But some allowance must be made for possible oversights, both our
own and those of the textual collations which we have used.' In
addition, we print only a limited number of examples of changes in
punctuation and have touched the morphology of proper names in
the text but lightly, and, of the hundreds of corrections of obvious
typographical errors in all the later folios, especially F2 and F3, which
are also probably the editors' work, and are assuredly deliberate
changes on somebody's part, we print only a few samples from F2
and count none at all in our statistical tables.
Our somewhat elaborate classification of these data is intended
to serve the reader's convenience and to throw as much light as
possible on the methods by which the seventeenth-century editors
worked and the value of the results which they accomplished. Follow-
ing so far as possible objective criteria, we have divided the changes
found in each folio into five parts: (i) those adopted by many or all
modern editors;^ (2) those which restore the reading of an earlier
text (for F2, a quarto; for F3, a quarto or Fi; for F4, a quarto, Fi,
or F2) adopted by many or all modern editors; (3) those which emend
the passage in substantially the same sense as modern editors do,
1 See p. 98.
^ We do not profess that we have collated all modern editions. To ascertain
the practice of modern editors we have, as a rule, taken the consensus of a group of
the most independent and scholarly recent editions, viz., the revised Cambridge
(1891-3), the Oxford (1892), the Arden (1899-1924), Professor Neilson's (1906),
Professor Kittredge's (1936), and, for the comedies, the New Shakespeare (Cambridge
University Press, 1921-I-). Virtually, then, "adopted" means adopted in at least
three of these editions. In passages regarding which these editions are nearly evenly
divided we have usually consulted also the Eversley edition (1899-1900), W. J.
Rolfe's revised edition (1903-6), and the New Temple edition (1934-6).
CLASSIFICATION AND METHOD OF PROCEDURE 23
but not in precisely the same language, modern editors sometimes
preferring, quite naturally, the reading of an earlier quarto or folio
and sometimes, naturally or otherwise, a conjectural emendation;
(4) those not adopted by most modern editors but still intelligible
according to certain criteria; and (5) those which are mistaken and
arbitrary.
The distinction between the first and the second classes is, to some
extent, artificial and, from the seventeenth-century editors' point
of view, unreasonable. Both classes consist of altered readings which
are now the readings of most or all modern editions; both classes
consist of adopted readings. The distinction between them, that some
are adopted in modern texts on the authority of or at the suggestion
of one of the later folios and the others on the authority of a quarto
or an earlier folio, is one that the seventeenth-century editors were
quite unaware of. When the editor of F2, e.g., changed "Is there any
fhips puts forth to night?" {Errors 1v.iii.32) to "Is there any fhip"
and when he changed "Is your Englifhmen fo exquifite in his drink-
ing?" {Othello 11.iii.75) to "Is your Englifhman" he was completely
unaware that his first correction differed in any way from the second,
but, from our point of view, we should say that Jliip is an original
emendation while E^igliJIiman is a reversion to the reading of the
quarto. Both were arrived at by exactly the same process of scrutiny
and judgment; both bear equally good testimony to the editor's alert-
ness and sense of the fitness of things. Indeed, it is remarkable that
these seventeenth-century editors, in F2 nearly a hundred years be-
fore Pope began the restoration of quarto readings by the process
of collation, should, by a process of divination alone, so often have
worked back to the readings of the quartos. But it is necessary to
avoid the implication that all correspondences between folio emen-
dations and modern texts rest upon the authority of the folios.
Our fourth class consists of changes which, although they are not
generally adopted by modern editors, seem to us, nevertheless, in-
telligible. Our criteria of intelligibility are that (i) the reading is
adopted by a minority of modern editors, or that (2) it emends an
undoubtedly corrupt passage, but does not really grasp the meaning
adopted by modern editors, the corruption — according to an earlier
text or the emendations of modern editors — often lying elsewhere
than in the words altered, or that (3) the reading is perfectly correct
according to the standards of taste and correctness of the seven-
teenth century or seems to have originated in a desire, quite legiti-
mate according to seventeenth-century standards, to improve the
text, to make the meaning plainer, more literal, or more consistent
24 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
with the context. Such readings are frequently real improvements,
but are of course rejected in modern editions because they lack
authority.
Corrections of the last kind are unquestionably attempts to im-
prove Shakespeare. That such an attempt was allowable by seven-
teenth-century standards, that the respect for an author's words
because they are his words which we feel today was unknown in the
seventeenth century, is a proposition easily demonstrated. We refer
the reader to the anthologies of John Cotgrave {The English Treasury
of Wit and Language, 1655) and Joshua Poole {The English Parnassus
or a Helpe to English Poesie, 1657) discussed in an appendix. These
editors, who were literary men, not mere proof readers, altered
Shakespeare's text without hesitation when doing so suited their
purpose as anthologists or promised to make it easier to understand.
In each of these classes, we have arranged our data under six
headings — thought, action, meter, grammar, style, punctuation.
Such a classification, with its various sub-headings, has enabled us
to bring together all the examples of the same kind of editorial re-
vision that we have found, to show what kinds of defects and incon-
sistencies in the text the editors were alert to, and to suggest with
what thoroughness they carried out their work. This classification
is, of course, less objective than the preceding: to the seventeenth-
century editors' motives or reasons in making their changes we have
no clue but our own judgment. That we have invariably been right
in reading the editors' motives or that every reader will at once agree
with all our discriminations is not likely, especially since we have
often been aware of making fine distinctions or of facing a decision
between mixed motives. But even if our guesses that a given change
was, for example, made to fill out the rhythm of a verse rather than
to clarify the expression of the thought and our delimitations of the
various groups under these main headings are more often wrong
than we hope, the changes still remain undoubted changes; errors of
classification cannot vitiate the broad conclusions to be drawn from
this study or even, we think, seriously distort the picture it presents
of the editorial revision of the folios.
Preparatory to a description of the work of the editors of the
various folios, it may be useful to outline their working methods, as
we infer them from our data. When it was decided to reprint the
Shakespeare folio in 1632, some one was entrusted with the task of
preparing the copy for the press. In the printing of books whose
author was dead, or for any reason unavailable, this task was most
likely performed by the publisher, the master-printer, or the proof
CLASSIFICATION AND METHOD OF PROCEDURE 25
reader of the shop;^ and had the foHo been a smaller undertaking,
probably one of these would have ofihciated here. But it is difficult
not to believe that a specially qualified editor was employed. To be
sure, the preparation of copy, at that time, did not stop with mend-
ing obvious errors; it sometimes supplied new conjectural em.enda-
tions, as is apparent in almost any reprint of a Shakespearean quarto.
But the work of the editors of the later folios, and that of the editor
of F2 in particular, can, we think, be shown to go beyond the normal
compass of this process of correction. Who this editor was, and who
set him to work, whether the publishers, the printers, or the King's
players — if, as is very doubtful, they still had an interest in the
edition of Shakespeare's plays — our data do not help to determine.
Neither do they throw much light on Mr. Nicoll's supposition that
the editor of F2 was actually three separate persons. They by no
means gainsay it, but they show a more general and uniform dis-
tribution of the kinds of alterations on which Mr. Nicoll based his
inferences than he was aware of.
What this editor, or these editors, must have done is to take a
copy of Fi, read through it, and mark in it whatever changes reason,
a sense of the fitness of things, and some knowledge of history, the
theater, etc., suggested. This we infer from the following facts. If the
editor derived his emendations from some other source than his own
intelligence, it must have been either earlier printed copies, manu-
script copies of the plays, or playhouse tradition. As to the latter
two, since what they may have been, if they existed at all, we have
no idea whatever, we can only say that none of the alterations we
have noted exceeds the limits of intelligent interpolation and emen-
dation— indeed, there is scarcely one as good as the most inspired
improvisations of the eighteenth-century editors. "* As to the first,
it can readily be proved that there was no systematic collation with
earlier printed copies, in particular with the quartos. It is true that
the new readings inserted by the editors of F2, F3, and F4 sometimes
agree with quarto readings, but just as often they do not and such
new readings are just as numerous in plays never printed in quarto.^
Our superseded changes, however, in which the editor obviously
' See Percy Simpson : Proof-reading in the Sixteenth, Seventeenth and Eighteenth
Centuries (1935).
* "Undoubtedly the second folio has some good corrections — some which, to any
one unpractised in the art of critical divination, might appear almost too good for
conjecture, ...but had these been owing to tradition, or copied from the a\argin of
some corrected first folio, it is most likely that they would have been far more
numerous." — Badham: "The Text of Shakspeare" {Cambridge Essays, 1856), p. 266.
' "The editor of the second [folio]... never examined a single quarto copy." — Malone
(1790), i. xxvii.
26 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
gropes after or approximates the reading of a quarto or earlier folio
text but does not quite reach it or expresses it in language different
from that of the quarto or earlier folio, make it quite plain that, in
these passages at least, he was not getting his emendations from an
earlier printed source and that, therefore, he did not in general get
them from an earlier printed source. At the sam.e time, this inference,
coupled with the fact that all his alterations fall within the scope of
human ingenuity, creates a presumption that he used a printed
source for none of them.
As for our hypothesis that the editor marked his improvements in
a copy of Fi, it is true that our chief reason for thinking so is that
such an arrangement is the simplest and most convenient; it is al-
most fantastic to suppose that some one made all the changes re-
corded here on the proof sheets. There is also an interesting piece
of direct evidence. One of the Duchess of York's speeches in Richard
III (iv.i.92-5) begins thus in Fii
Go thou to Richmond, & good fortune guide thee,
Go thou to Richard, and good Angels tend thee,
Go thou to Sanctuarie, and good thoughts poffelfe thee,
I to my Graue, where peace and reft lye with mee.
In F2 the first line reads:
Go to Richmond, to Dorfet, to Aiine, to the | Queene, and
good fortune guide thee,
The words inserted in F2 indicate the persons to whom the first three
lines of the duchess's speech are addressed. In F4 and all subsequent
editions they are printed as stage directions opposite the first, sec-
ond, and third lines respectively. It seems impossible to explain
their appearance in F2 except by supposing that the editor, perceiv-
ing the need for indicating the persons successively addressed by
the duchess, wrote these phrases in the margin of the copy of Fi he
was working over, to be printed in italics, one after each of the first
three lines of the speech, at the right-hand margin, like the similar
stage-directions at iii.iii. 165-6 in j Henry VI, and that the com-
positor, mistaking his intention, possibly because of cramped writing,
huddled them all together in the first line after the parallel phrase
"to Richmond."
After the editor had finished his work and written his alterations
into the text, the revised copy was turned over to the compositors
to be set up. So, at any rate, we are inclined to think. The alternative
possibility, suggested by Mr. Nicoll, is that the compositor rather
than the editor is responsible for changes in spelling and in grammar.
CLASSIFICATION AND METHOD OF PROCEDURE 27
This is perfectly possible, but we regard the other view as more
likely. There is an inherent improbability in the idea of an editor's
giving a text a pretty thorough general overhauling and leaving sev-
eral hundred grammatical discords to the compositor to correct. As
these are among the more obvious of all the corrections found in F2,
we should rather suspect that he picked them up first of all. In
addition, as it is nowadays no part of the duty of a compositor to
correct the text he sets up, we doubt that it was in the seventeenth
century; besides, the work expected of him was enough to occupy his
full attention. Furthermore, even if he were accustomed to take
the liberty of correcting obvious blunders in the texts he set up, he
knew that this one had been revised by some more competent hand
and might very well be expected to take the line of least resistance
and trouble himself no further over it. In addition, there is some
direct evidence, especially in F2, in the exactness with which he often
reproduces minute and quite irregular peculiarities of orthography
and typographical practice, of what we interpret, in spite of his
numerous unconscious errors, as his aim to follow copy quite literally.
Any judgment on a point of this kind must be tentative, but ours is
that the compositor is responsible for very few, if any, of the in-
tentional changes between one folio and the next.
From this corrected copy of Fi, then, the compositors set up a
page-for-page reprint which incorporated the editor's improvements.
What happened next is doubtful. We cannot think that the editor
himself saw the proof sheets because we do not believe that he could
have failed to notice the hundreds of obvious typographical errors
that disfigure F2 or a misrepresentation of his intention such as the
blunder at Richard III iv.i.92-5 mentioned above. One would sup-
pose that a publisher or printer conscientious enough to see that the
book he proposed to reissue was revised and corrected would also
make sure that it was checked by a competent proof reader. As a mat-
ter of fact, however, the proof reading of F2 was very badly done. If it
were not that a few variations between different copies show that
some corrections were made while the sheets were being printed off,
one would suspect that it was neglected altogether, and the large
number of obvious typographical errors alone shows that the sheets
could hardly have been compared with the copy.^ This gross care-
^ Though it may seem contrary to reason and present-day practice, it does not
appear that proofs were regularly read with the copy in the early seventeenth century.
Of the corrections found in an interesting example of a page of proof for Fi, Mr. Simp-
son says that the professional proof reader who wrote them "probably made them
at sight, without reference to the copy" (op. ctL, p. 83).
28 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
lessness, coupled with the shabby make-up and poor presswork of
F2, suggests that the blunders which disfigure it originated chiefly
in the printing house and that the publisher or some other interested
person was primarily responsible for the editorial revision it received.
This superficial appearance of carelessness naturally gives one a bad
impression of the book as a whole and has perhaps obscured some
of the pains which were actually bestowed upon it. For this reason,
we have tried particularly to explain how the manifold errors which
impair this text are not in the least inconsistent with as much careful
and intelligent revision as our data evince and how excellent editorial
emendations and gross typographical errors can stand cheek by jowl
on almost every page.
As for F3 and F4, one cannot feel equally certain. It is again natural
to suppose, on the score of convenience, that the corrections found
in F3 were written in the copy of F2 given to the compositors. Yet,
in the absence of any confirming evidence, one would hesitate to as-
sert that some nine hundred alterations, roughly one to a page, could
not have been made on the proof sheets, and indeed the irregularities
of spacing evident in a good many lines in which changes occur might
suggest that the changes were made after the type was set up. To
be sure, F3 also corrects an equal, if not a greater, number of obvious
typographical errors and in addition makes a number of intelligent
changes of punctuation, but it is not impossible that the correction
of obvious typographical errors may have been left to the composi-
tors, to whom they would have been as obvious as to anybody else.
There is also a good deal of modernization of spelling, but this again
may have been left to the compositor. On the other hand, if all these
editorial changes and improvements of punctuation were inserted
in the proof sheets, one would expect to find a number of diversities
in different copies of the book. So far as we are aware, no one has
collated a number of copies of F3; we ourselves have encountered no
such diversities in the two copies available to us and we have found
no hint of them in the Variorum and Cambridge collations. Whether
or not the editorial changes displayed below were made before or
after the type was set up, there can be very little doubt that F3,
being largely free from obvious typographical errors, was carefully
read in proof, but the occurrence of a considerable number of un-
obtrusive errors suggests that the proof was not checked with the
copy.
A different situation is revealed in F4. In the first place, it is to be
observed that the book falls into three divisions with separate sig-
natures and pagination (comedies, pp. 1-272 +one unnumbered leaf,
CLASSIFICATION AND METHOD OF PROCEDURE 29
A-Y", Z'*; histories and tragedies through Romeo,' pp. 1-328, B-C,
Dd-Zz'', *Aaa-*Ddd^, *Eee'^; Timon, the remaining tragedies, and
the seven plays added in F3, pp. 1-303 + one blank page, Aaa-Zzz^,
Aaaa-Bbbb^, Cccc-) which differ typographically.^ The differences
are most obvious in the type used in the head-titles, running-titles,
and act and scene designations, in the use of rules marking the end
of a scene, and in the use of large initial capitals.^ F4 is not a page-
for-page reprint of F3, as (barring some differences in the insertion
of blank pages) F3 was of F2 and F2 of Fi; the spacing is somewhat
more regular than that of any preceding folio. Run-over lines are
generally avoided. In the first and third divisions, a new play is
sometimes started in the middle of the page. It is very probable that
these differences are due to the book's having been set up (and there-
fore probably printed) by three different printers. If so, it is possible
that some or all of the changes found in it may be the work of three
different correctors of the press, each regularly employed in one of
the three printing offices involved. The alternative is, of course, an
editor who labored over the book in its entirety, some one, like the
editor of F2, probably unconnected with the printing trade, who, so
far as veritable editorial supervision goes, superseded the regular
correctors of the three printing houses. Is there any evidence which
would seem to favor one rather than the other of these alternatives?
We believe it is possible to establish the presumption that the
former is the more likely.
In the first place, there are some differences in typographical
style, besides those already mentioned, which may be attributed to
^ It is a curious fact that in three copies of F4 which we have examined the signa-
tures on p. I of the second division (B) and p. 13 (C) are corrected with a pen to
Bb and Cc. A similar change is found in some copies on pp. 15, 17 (C2, C3). This
correction would also appear to have been made in the copy from which the Methuen
facsimile was photographed.
^ These divisions consist of 14, 14, and 15 plays respectively — as nearly as possible
an equal number of plays. This principle of division probably accounts for the in-
clusion of four tragedies with the histories.
' Pp. 123-4 (sig. L) of the first division {Labour's v.i.io~v.ii.254) are set in smaller
type and the text is crowded as much as possible. Two short speeches are printed on
the same line as often as may be. In this way matter that occupied a little more than
three pages in F3 is squeezed into two. Professor Baugh suggests that the reason for
this eccentric arrangement may have been the compositor's accidentally omitting a
whole page in setting up from Fg. If so, sig. L is a cancel; evidently the mistake was
discovered after the work of printing had gone forward, sig. L was reset in smaller
type to accommodate the matter omitted, and the sheet consisting of L and [L6]
was reprinted. Incidentally, the type in which F4 is set from p. i through p. 84 (sig.
A-G) and from p. loi through p. 107 (misnumbered 109) (sig. I 2^"-[I 5]'') differs from
that used in the remainder of the first division: it is wider and rounder and a trifle
less bold, and very much like that used in the second division of the book.
30 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
intention rather than to fortuitous causes such as the fonts of type
available, the natural differences in practice between printing offices,
etc. In stage-directions, which in the earlier folios were printed in
italics, F4 prints proper names in roman — sporadically in the first
division, generally in the second, and almost uniformly in the third.
In the earlier folios stage-directions usually occupy only one line
between the dialog above and below so that they are sometimes not
very noticeable; in F4 they are often isolated by leads above and
below so that they stand out and attract the eye at once — most regu-
larly in the third division and least regularly in the first. Stage-
directions aligned on the right-hand margin in F3 are sometimes
centered in the second and third divisions of F4. Short stage-direc-
tions {Exit, Exeimt, indications of incidental action) printed in F3,
as in modern editions, along the right-hand margin are set off by a
bracket, in the second and third divisions of F4, almost without ex-
ception. In the third division, the dramatis personae of Timon and
Othello (the only plays in this division for which such lists are fur-
nished in the earlier folios) are printed at the beginning instead of the
end of the play.^° How far differences like these are the work of the
corrector of the press is open to dispute, but they are matters of
style which fall within the corrector's province. In the varying de-
grees of uniformity with which such typographical practices are
carried out there may be evidence of three different correctors.
In the second place, the number of editorial changes varies greatly
in the three divisions of the book. We find 157 in the first division
(14 plays), an average of 1 1 to a play; 414 in the second (14 plays), an
average of 29; and 180 in the eight canonical plays of the third
division, an average of 23. While it is true that these differences may
reflect to some extent the late seventeenth-century distaste for
Shakespeare's comedies, a ratio of nearly three times as many cor-
rections to a play in the second division as in the first may also be
due in part to greater care on the part of a difi^erent editor. The
average num.ber of changes to the page, a somewhat better index, is
.5 in the first division, 1.2 in the second, and .9 in the third. Further-
more, there is some evidence of difference of editorial standards in the
three divisions of the book. The word meaning "to faint" which, in
modern editions, is usually printed swoon and sometimes swound
occurs in F3 in the form of /wound or found six times in the first
division, five times in the second, and five times in the third. In F4
" This is likewise true of Pericles, The London Prodigal, Cromivell, and The Puritan.
In Fs the list for Sir John Oldcastle appears, with those for The London Prodigal and
Cromwell, on the page opposite the beginning of Oldcastle; in F4 it appears under
the head-title.
CLASSIFICATION AND METHOD OF PROCEDURE 31
none of these are changed in the first or third division, but all of
those in the second, except one which may not have been recog-
nized,^^ are altered to swoon. The shortened ordinal form {fift, Jixt,
or eight instead oi fifth, Jlxth, or eighth) appears in F3 six times in the
first division, ten times in the second, and four times in the third;
in the first division it is changed once, in the second ten times, and
in the third four times. '^- The form fir 00k (en instead oi firiick{en is
found in F3 four times in the first division and is changed to firuck{en
three times in F4; seventeen times in the second division and is
changed ten times; fourteen times in the third division and is changed
four times. The word whether in the sense of whither occurs thirteen
times in the first division in F3 and is changed to whither seven times
in F4; eleven times in the second division and is changed ten; twice
in the third division and is changed twice. ^^ The word which modern
editors print as vile, or one of its derivatives, occurs in F3 with a
d (vild(e etc.) twenty times in the first division and is changed to vile
twice in F4; eighteen times in the second division and is changed
eighteen times; twenty -one times in the third division and is changed
thirteen times.
All these facts seem to create the presumption that different minds
regulated the reprinting of the three divisions of F4. Differences of
arrangement, some of them so drastic that one would not expect a
compositor to take it upon himself to effect them, point to differ-
ences of taste; differences in the number of changes made point to
different degrees of alertness, if not to different standards of pro-
priety and correctness. The data on the modernization of certain
obsolescent word-forms are especially curious. It is not hard to
imagine that a single editor, reading through the whole book and
marking corrections in it, might occasionally have overlooked an
old-fashioned form which, as a rule, he changed when he noticed it.
But it seems quite unlikely that, in changing vild(e to vile, for ex-
ample, he would have scored 100% in the second division and only
10% in the first; it is more reasonable to suppose that the alterations
" what will it be
When that the watry palats taft indeed
Loves thrice reputed Nectar? Death I fear me
Sounding deftruction, or fome joy too fine,
Too fubtile, potent, and too fharp in fweetnefs,
For the capacitie of my ruder powers;
(F3: Troiliis in. ii. 19-24)
12 This count does not include the numerous occurrences of these words in the
head-titles and running-titles of certain of the histories, where they are always
changed.
1' It is particularly unlikely that our count for whether -whither is complete; Bart-
lett's concordance apparently prints only selected examples of this word.
32 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
in the three divisions of the book were made by three different per-
sons and that the editor of the first division was much less alert or
much less sensitive to old-fashioned usage than the editor of the
second. If, then, it is allowed that three different hands may be de-
tected in the editorial work in F4, it seems more likely that these
three editors were the correctors of the press attached to the three
printing houses in which F4 was printed than that, for some un-
imaginable reason, three different persons unconnected with the
printing trade were hired to revise the text of the plays.
§4
Changes in the Second Folio
As it has often been remarked before that F2 is an edited text, it is
not surprising to find everywhere evidence of attempts to clarify,
correct, and improve it. We list below 1679 changes which, accord-
ing to our criteria, are deliberate editorial changes, something like
two to a page. Of these, 836 are adopted changes (623 appear in most
modern editions as emendations of the editor of F2),^ 169 superseded,
and 331 intelligible. They are fairly evenly distributed among the
categories of thought, action, etc. Alterations of grammar are most
numerous (459) and changes pertaining to the action least (130).
Changes affecting the thought, meter, and style are very nearly equal
in number — 374, 359, and 357 respectively. These last figures are
not very significant, but are interesting in comparison with the cor-
responding figures for the later folios.
The distribution of changes among the various plays is not at all
uniform. The smallest number of changes, 10, is found in John and
the largest, 114, in Romeo; the arithmetical average for all the plays
is 47. It is a curious fact that in thirteen plays the figure falls be-
tween 42 and 56. Among these thirteen plays there are comedies,
histories, and tragedies. Still more interesting is the fact that the
plays in which the fewest changes are found are all good texts —
John, 2 Henry IV, Tempest, Richard II, Twelfth Night, Henry VIII,
Merchant, Much Ado, Caesar. This is just what one would expect of
a qualified editor, whereas an ignorant and reckless editor might
botch a good text just as much as a bad one. After Romeo, correc-
tions are most numerous in Antony, Labour's, Troilus, Othello, and
Titus, all of them, especially the first three, plays which scholars
agree stand in need of some revision.
' See p. 22 f.
CHANGES IN THE SECOND FOLIO 33
Our data do not precisely corroborate the findings of Mr. Nicoll,
who did not, of course, profess to examine systematically all the
plays, but there are no serious discrepancies. Among the comedies,
he says, Much Ado, Dream, Merchant, and Twelfth Night were left
practically untouched. These are among the plays in which we find
the fewest changes, but there are still fewer in The Tempest. Among
the histories, he says, only Richard II and Henry V were seriously
considered. We find 25 and 50 changes, respectively, in these plays
and 42 in Richard III, 52 in 2 Henry VI, and 54 in / Henry VI.
Of the tragedies, he specifies Troilns, Titus, Romeo, Hamlet, and
Antony as having received a good general editing. According to our
data, these, with Othello, are the most frequently corrected tragedies,
but there are more changes in Othello than in either Titus or Hamlet.
With his other inferences, our results agree less closely. We find
improvements in the stage-directions running through all the plays
instead of being confined to the comedies. Besides 78 in the comedies
(of which more than a third are found in two plays, Gentlemeji and
Merry Wives), there are 11 in the histories and 41 in the tragedies.
Mr. Nicoll singles out Romeo, Titus, i, 2, and j Henry VI, and
Winter's Tale as noteworthy for their metrical corrections. Our fig-
ures for these plays are 34, 22, 28, 17, 19, and 15 respectively. We
also find 23 in Shrew and 17 in Labour s. But there are more metrical
corrections distributed through the remaining plays than his re-
marks would lead one to suppose.
The dispersion of these changes, the fact that they run through
all the plays and affect every conceivable phase of the text, affords
a clue, we think, to the editor's method of procedure. He simply
read through the text critically, interpreting it to himself to the best
of his ability, and tried to clarify what he could not interpret in-
telligibly, to normalize irregularities, to reconcile inconsistencies, and
to bring up to date what was markedly old-fashioned. While he by
no means ferreted out all the corruptions which modern editors have
seen fit to emend, he nevertheless showed considerable alertness,
ingenuity, and tact. We shall try to illustrate these by reviewing the
kinds of defects and inconsistencies he was sensitive to and the
remedies he applied to them.
Of the changes which have the effect of clarifying or perfecting
the thought of the passage involved, a good many supply omissions
(pp. 98 ff., 154 ff.) for most of which, no doubt, the compositors of
Fi were responsible. Some of these omissions are rather obvious, but
to detect them the editor must certainly have followed the action of
the play with care. Some of them, however, are not in the least
34
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
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36 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
obvious: the passage in Measure, "Shee fliould this Angela haue
married: was affianced to her oath" (iii.i.209), which the editor
rendered "to her by oath," is intelligible as it stands, and the omis-
sion of a subject for was affianced is more obvious than that of the
preposition. Often in verse passages the meter doubtless served as a
clue to omission. Under the heading of grammar we list some further
passages in which omissions were supplied (pp. 132 ff., 169 ff.). The
difference between these and the changes collected under thought,
which is sometimes very slight, is in general that they seem to us
not so much to clarify the thought, which is clear enough without
addition, as to round out the expression of it. Accordingly they are
the more obvious.
We have also collected here a number of passages in which the
editor corrected inconsistencies of fact and circumstance by closely
following the action of the play (pp. 100 ff., 155 ff.). He remembered,
for example, in 2 Henry VI that Peter fights only one person, his
master, Horton, and so made him say "O God, have I overcome mine
Enemie" rather than "mine Enemies" (11.iii.96). He remembered, in
the same play, that the Duke of York had two sons and so, guided
also by the pronouns in the following lines, made him say, "Sirrah,
call in my fonnes to be my baile" instead of "call in my fonne"
(v.i.iii). When he read Juliet's speech at Romeo iv.i.121, as printed
in Fi, "Giue me, giue me, O tell me not of care," he remembered
that it was not precisely of care that the friar had been speaking and
so took feare from the preceding speech of the friar and put it in
place of care. He found the speech of Tamora which begins at Titus
v.ii.28 blurred by unobtrusive misprints thus:
Know thou fad man, I am not Tamora,
She is thy Enemie, and I thy Friend,
I am Reuenge lent from th'infernall Kingdome,
To eafe the gnawing Vulture of the mind.
By working wreakefuU vengeance on my Foes:
and he was sufficiently alert to the dramatic intention of the scene
to change the last two lines to:
To eafe the gnawing Vulture of thy mind,
By working wreakefull vengeance on thy Foes.
At Macbeth 1v.iii.133, where, in Fi, Malcolm tells Macduff at the
English court
What I am truly
Is thine, and my poore Countries to command:
Whither indeed, before they heere approach
CHANGES IN THE SECOND FOLIO 37
Old Seyward with ten thoufand warlike men
Already at a point, was letting foorth:
he was sufficiently alive to the inherent improbability of the literal
sense of these words and sufficiently bold in dealing with the language
of the text to change they heere approach to thy heere approach.
Possibly he found a precedent for this unusual phrase at line 148,
"my heere remaine in England," the only other adverbial compound
in all the plays of which here is the first element.
We have also collected in a separate class a number of changes
which correct unobtrusive errors of various kinds which make fairly
good sense in their context or at worst do not quite make nonsense
(pp. 102 ff., 156 ff.). To correct a mistake of this kind is a very
different thing from correcting an obvious typographical error. The
easiest kind of mistake to notice is that which defaces a word and
results in a combination of letters unparalleled in the standard Eng-
lish vocabulary. Mistakes which result in recognized English words,
even when they are quite inappropriate to the context, much more
often pass undetected. In these passages, as printed in Fi, there are
all the degrees of sense and near-nonsense, including that degree of
sense in which only a very sharp mind would discover a defect.
Superficially there seems to be nothing wrong with the expression
of the conceited reference to the lover's thoughts at the end of the
letter the duke discovers on Valentine {Gentlemen iii.i.149):
I curfe my felfe, for they are fent by me,
That they fhould harbour where their Lord Jhoiild be.
But the editor adds point to the idea by changing the last line to
"where their Lord would be." When Oliver, according to Fi {As You
Like It 1v.iii.154), brings Rosalind the blood-stained bandage from
Orlando's wound, he tells her he has been commanded
to giue this napkin
Died in this bloud, vnto the Shepheard youth,
but the editor bettered this by reading "Died in his blood." In
Henry V, when the king, after his victory over the French, orders
his troops to restrain their exultation, Fi makes him say, "Come,
goe me in proceffion to the Village" (iv.viii.iii) ; the editor very
plausibly changed it to "go we." The prince's comment on his banish-
ment of Romeo, "Mercy not Murders, pardoning thofe that kill"
(111,1.194), according to Fi, is perfectly intelligible, but the editor
converted it into a bold metaphor by reading "Mercy but Murders."
Changes like these seem to us to show a keen mind alert to the un-
38 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
raveling of the action of the plays and to the dramatic effect of their
lines as well as ingenious in improvising corrections and improve-
ments.
Under the heading of "Corrupt readings emended by pure guess-
work" (pp. 109 ff., 159 ff.), we have segregated the most brilliant of
the editor's improvements. The readings of Fi listed here are either
perfectly intelligible without alteration, like "a knot: a gin, a packe,
a confpiracie againft me" {Merry Wives 1v.ii.103) — where gin, though,
in the sense of "trap," entirely suitable, is changed to ging, a word
not otherwise recorded, which modern editors explain as meaning
gang — or, like the "intemible Sine" oiAlVs Well (i.iii.193) — for which
he reads "intenible" — quite unrecognizable. Here we find his most
striking efforts — "on the reareward of reproaches" for "on the re-
ward" {Much Ado iv.i.126), "the kinde life-rendring Pelican" for
"Politician" {Hamlet iv.v.143), "the bafe Indian" for "the bafe
ludean" of Othello (v.ii.350), and, possibly most remarkable of all,
the "you have Teftern'd me" of Gentlemen (i.i.135), where he evolved
a nonce-word to replace the absurd ceftern'd of Fi.
We should like to call attention to the fact that some of the pas-
sages printed among our adopted changes are only partially cor-
rected. The editor's substitution of lea^ie for leaue in a very corrupt
passage in Timon (1v.iii.12-3) —
It is the Paftour Lards, the Brothers fides,
The want that makes him leaue: —
seems to show that he weakly grasped the idea concealed there, but
that he was forced to give up the first line ("It is the pasture lards the
rother's sides") as hopeless. Nevertheless, as all modern editions un-
doubtedly read "The want that makes him lean," we do not know why
he should not be credited with this improvement even though he left
the corruptions in the rest of the passage untouched. The same thing
is true of his turning "th'head of Action" at Antony Ii1.vii.51 into
"th 'heart of Actium."ylc^zMm ior Action is very good, but at the same
time the editor apparently did not understand this use of the word
head. It does not seem to us, however, that he deserves no credit at
all.
In our superseded changes affecting the thought (pp. 172 ff.) the
editor clarifies and perfects the text in the same way, but as he hap-
pened not to light on either the very words of an earlier text, where
there was one, or of the conjectural emendation which modern editors
prefer, they do not adopt his emendation. Thus at Measure iii.i.53,
"Bring them to heare me fpeak, where I may be conceal'd," his
CHANGES IN THE SECOND FOLIO 39
emendation, "Bring them to fpeake, where I may be conceal'd, yet
heare them," clearly shows that he saw what was wrong and what the
thought concealed by this corruption really was, but Steevens's
emendation, "Bring me to hear them speak, where I may be con-
ceal'd," is certainly neater. His change at Richard III i.i.75, "for his
delivery" instead of "for her deliuery," is exactly right, but the fuller
version of the quartos ("to her for his delivery") is better still. That
his corrections were sometimes a trifle naive is demonstrated by
Othello 11.iii.156. Here Fi makes Montano say, after he has been
wounded, "I bleed ftill, I am hurt to th'death," and adds the stage-
direction "He dies." The editor recognizes that it is not time for
Montano to die and so makes him say, "I am hurt, but not to
th'death," and removes the stage-direction. Q2 supplies the standard
text: the fear-stricken Montano still announces his death and then
faints. In spite of their supersession, some of the editor's improve-
ments are quite keen, for example, that at i Henry VI i.iv.95:
Fi: Plantaginet I will, and like thee,
Play on the Lute, beholding the Townes burne:
F2: Plantaginet I will, and Nero like will,
Play on the Lute, beholding the Townes burne:
For the changes collected under "In obviously corrupt passages,
a more intelligible reading is inserted or the approved sense is ap-
proximately recovered" the editor, as a rule, deserves credit for little
but recognizing a corruption when he saw it; his alterations, at best,
only approximate the sense that modern editors adopt.
In the intelligible changes affecting the thought (pp. 191 ff.), the
editor's changes, while one can see a reason for them, are unnecessary
either because they are too finical or because they rest upon a miscon-
ception of the meaning or intention of the passage corrected. Take,
for instance, his change at Much Ado v.ii.33-4:
Fj: I can finde out no i rime to Ladie but babie, an innocent rime:
F2: I can finde out no rime to Ladie but | badie an innocents rime:
It is easy to imagine his noticing that hahy does not, in fact, rime
with lady at all and feeling obliged to change it. Apparently he did
not dare to change hahie to anything but badie, which, as it is no
word, he justified rather neatly by calling it a fool's rime, which, in
a manner of speaking, it no doubt is. When he read in Time's prolog
at Winter's Tale iv.i.22 "I mentioned a fonne o'th' Kings, which
Florizell \ I now name to you," he remembered that Time had not,
in fact, mentioned the king's son at all and quite reasonably made
him say, "I mention here" instead. Modern editors, interpreting the
40 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
passage less literally, do not find sufficient reason for deserting the
more authoritative text. His improvement of Romeo i.v.43 — "Her
Beauty hangs upon the cheeke of night" for "It feemes Ihe hangs" —
has been adopted by editors as late as Dyce and admired even when
not adopted.
Sometimes the editor was thrown off the track by the use of a
word in an unusual sense, as at Caesar ii.i.215,
Fi: Cains Ligaritis doth beare Caefar hard,
Who rated him for [peaking well of Pompey;
F2: Caius Ligarins doth beare Ca'far hatred,
Who rated him for fpeaking well of Pompey,
or by a bold metaphor, as at Timo7i v.ii.2, when a senator asks the
messenger:
Thou haft painfully difcouer'd: are his Files
As full as thy report?
and the editor felt it necessary to change this to "As full as they re-
port." These changes, though unnecessary, are both ingenious and
economical. Most of his changes of one preposition or conjunction to
another were doubtless dictated by his sense of propriety or by a feel-
ing that the substitute was the clearer, and at a time when standards
of usage were not fixed as they are to-day, it is hard to say that he
may not have had some reason on his side, but modern editors, of
course, with a respect for the least letter of the primitive text un-
known in 1632, preserve the earlier reading.
The mistaken changes affecting the thought we have separated
into four groups. In the first of these, the editor has rectified imagi-
nary inconsistencies of fact and circumstance (pp. 215 ff.). In the sec-
ond he has altered passages in which his unfamiliarity with some
particular word or the sense in which it is used led him to suspect
corruption which did not exist (pp. 217 ff.). For example, he was
quite mystified by As You Like It 111.ii.349, "for fimply your hauing
in beard, is a yonger brothers reuennew," and tried to inject sense
into it by reading "your having no beard." At Twelfth Night v.i.192,
"Then he's a Rogue, and a paffy meafures panyn," he recognized
pavin, or pavane, in panyn, but apparently he could not stomach
equating the drunken surgeon to a dance. He therefore read "He's a
Rogue after a paffy meafures Pavin," apparently conjuring up a
picture of the drunkard's staggers following the movements of the
dance. The metaphorical use of Starre at Hamlet 11.ii.140 also evi-
dently nonplussed him when he made the line read "Lord Hamlet is
a Prince out of thy Sphere," and likewise the transitive use of cease
CHANGES IN THE SECOND FOLIO 41
at Cymheline v.v.255, "A certaine fluffe, which being tane, would
ceafe | The prefent powre of life," which he emended to feize. The
word sennet, used in stage-directions to indicate a trumpet call, he
evidently did not recognize: four times he struck it out, six times he
changed it to son{n)et, and five times he let it stand.^ Whether he
understood his substitute, sonnet, as the verse-form or as some deriva-
tive of the Latin sonus is a question. The most curious mistaken cor-
rection of this kind is his treatment of the weird sisters in Macbeth,
slightly disguised as the weyard sisters in Fi: once he substituted
weyward and twice wizard.
The third group of mistaken changes (pp. 220 ff.) consists of pas-
sages in which the editor has apparently felt it necessary to alter the
text because he failed to grasp the image, idea, or construction in-
volved. Thus at Troilus i.ii.279, "Things won are done, ioyes foule
lyes in the dooing," he apparently failed to understand the metaphor
and so substituted "the foules joy." Again he seems to have failed to
perceive that Romeo's repartee, "Then moue not while my prayers
effect I take" (i.v.104), means "while I measure the effect of my
prayers," so that he made the line read "while my prayers effect doe
take." He also missed Juliet's mockery of the nurse at 11. v. 61 :
How odly thou repli'ft:
Your Loue faies like an honeft Gentleman:
Where is your Mother?
Juliet is actually quoting the nurse verbatim, but the editor takes
her to be using indirect discourse and so changes the last line to
"Where is my Mother?" Sometimes, in an equivocal passage, such as
Winter's Tale i.ii.139, "Thou do'ft make poffible things not fo held,"
he emended in the wrong sense. This line means "Thou dost make
possible things which are held impossible," but he takes it to mean
"Thou dost cause possible things to be held impossible" in reading
"Thou do'ft make poffible things not be fo held."
The last group consists of passages in which the editor has mis-
takenly tried to clarify the meaning or the syntax (pp. 224 ff.). The
effect of his changes is usually to produce a more literal reading. Here
he is trying to improve Shakespeare. It is not usually that he has mis-
understood the passage so much as he felt that he could, or should,
make it clearer, easier to understand, for the reader's benefit. It is
characteristic of the seventeenth century, we think, thus to put the
reader before Shakespeare and, for the sake of the former, to take
liberties with the text at which modern editors hold up their hands in
^ The editor of F3 also changed Sennet to Sonnet at Antony 11.vii.17.
42 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
horror. To the seventeenth-century editors Shakespeare's text was
not at all surrounded by the halo of glory through which we look at it
to-day and had not the right to stand on its own merits when a slight
change would make it more intelligible to the ordinary reader. That
respect for an author's words because they are his words which we
pay them to-day was scarcely understood; at any rate, it does not
seem to have stood in the way of correcting the text where it seemed
corrupt or even, on occasion, of improving it. It may be, too, that in
1632, when many of Shakespeare's friends and associates were still
alive and his plays kept their place in the repertory of the company
that had first produced most of them, the texts were regarded as re-
taining some of the fluidity of the theater. In our judgment, there is
less irresponsible "improvement" in F2 than might have been ex-
pected a priori.
The changes pertaining to the action of the plays (pp. 112 ff., 161)
are nearly all indications of entrances and exits and reassignments
of speeches. Four stage-directions indicating action on the stage, in-
cluding the Kills him at Caesar v.iii.46, are added and four are cor-
rectly altered. The speeches redistributed amount to 22. But the
most noteworthy accomplishment of the editor in this department
is his care in marking a character's entering or leaving the stage.
Seventy-three entrances and exits are correctly added and one is
correctly omitted. More than a third of these — 27 — are found in two
plays, Gentlemen and Merry Wives. The well-known peculiarity of
these texts, the massing of all entrances at the beginning of the scene,
gave the editor the opportunity of fixing the place of the various
internal entrances and exits, and he acquitted himself very credit-
ably.
Outside the adopted categories, there are only 21 changes pertain-
ing to the action, of which six must be classed as superseded (pp. 1 78
f.). Most of these have to do with the distribution of speeches; there
are also two intelligible, but unnecessary, alterations of stage-direc-
tions (p. 197) and half-a-dozen mistaken additions or omissions of
entrances and exits (p. 224). The most curious mistaken addition
occurs at Lear v.iii.322: here, when Kent says
I haue a iourney Sir, fhortly to go,
My Mafter calls me, I muft not fay no.
the editor takes him at his word and adds Dyes. This interpretation
of Kent's speech persisted in succeeding editions for a hundred and
fifty years.
The changes affecting the meter are among the most remarkable
features of the work of the editor of F2, especially in view of the fact
CHANGES IN THE SECOND FOLIO 43
that he far outdid his two immediate successors in this respect. There
are 360 of them in F2, 130 of which belong to the adopted categories
(pp. 114 ff., 161 ff.) and 70 to the superseded (pp. 179 ff.). In all of
the latter, some adjustment is made in a line that modern editors
have judged rhythmically unsatisfactory. These changes are usually
slight. Sometimes they involve no more than the expansion of a con-
traction, such as Let us for Let's, I will for lie, or the contraction of a
full form, such as gainjl for againjl, wingd for winged, haviour for
hehauiour, or than thorough for through; more often they consist in
the insertion or, less frequently, the omission of a monosyllable- — an
article, a conjunction, or an interjection. Sometimes a word is re-
peated to fill out the line, as at j Heyiry VI 111.iii.156:
Fi: Peace impudent, and fhameleire Warwicke,
Fj: Peace impudent, and fhameleffe War-wicke, Peace,
or parallelism of expression is carried out, as in the substitution of
Rapine for Rape at Titus v.ii.62. That these alterations were more
than a matter of counting syllables and that the editor really had an
ear for the rhythm of verse is constantly shown by such changes as
these:
Fi: Where youth, and coft, vvitlefre brauery keepes.
F2: Where youth and coft, and witleffe bravery keepes.
Measure i.iii.io
Fi: Becaufe in choife he is often beguil'd,
F2: Becaufe in choife he often is beguil'd,
Dream i.i.239
Fi: And not a Tinker, nor Chriftopher She.
F2: And not a Tinker, nor Chriftophero Sly.
Shrew Ind. ii.71
Fit The Larke, that tirra-Lyra chaunts,
With heigh, the Thriijh and the lay:
F2: The Larke, that tirra-Lyra chaunts.
With heigh, with heigh the Thrujh and the lay:
Winter's Tale iv.iii.io
Fi: I pray you ftay? by hell and hell torments,
F2: I pray you ftay? by hell and all hells torments,
Troiliis v.ii.43
Fi: That the bruized heart was pierc'd through the eares.
F2: That the bruiz'd heart was pierced through the eare.
Othello i.iii.219
Furthermore, these metrical alterations occasionally add point to
the speeches in which they occur, as at Winter's Tale 111.ii.165:
44 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Fi: Vnclafp'd my practife, quit his fortunes here
(Which you knew great) and to the hazard
Of all Incertainties, himfelfe commended,
Fj: Vnclafp'd my practife, quit his fortunes here
(Which you knew great) and to the certaine hazard
Of all Incertainties, himfelfe commended,
Some of his mistaken changes are also bold, such as Timon i.ii.143,
Fi: You haue added worth vntoo't, and lufter,
F2: You have added worth untoo't, and lively lufter,
or J Henry VI i.iv.153,
Fi: That Face of his,
The hungry Caniballs would not haue toucht,
Would not haue ftayn'd with blood:
F2: That face of his,
The hungry Caniballs would not have toucht,
Would not have ftayn'd the rofes juft with blood:
or I Henry F/i.vi.2, in which his sense of dramatic realism overcomes
his patriotism,
Fi: Refcu'd is Orleance from the Englifh.
Fj: Refcu'd is Orleance from the Englifh wolves:
There are a few passages in which he converted prose into verse (p.
122). It may be noticed, too, that in some of the changes in our other
categories care is taken not to spoil the rhythm in making the change.
Occasionally, for instance, when a change affecting the thought or
the style robs the line of a syllable, the editor will insert a compensat-
ing syllable elsewhere in the line.*
The metrical changes which we classify as intelligible (pp. 197 ff.)
are those which have been adopted by one or a few modern editors
and those which alter passages which modern editors also emend, but
differently.
Many of our mistaken metrical changes (p. 225) can also be ex-
plained. Most of them, at any rate, occur in lines which are actually
defective or at least abnormal. Sometimes modern editors allow the
defective line to stand; sometimes they remove the defect by rear-
ranging the verse-division of the whole passage, as at 2 Henry VI
ii.i.34, 5 Henry VI i.iv.153, and Timon i.ii.199. Other changes can
be explained as misunderstandings on the editor's part. His change
at Tempest iv.i.121 is an improvement if, as he must have supposed,
confines is to be accented on the first syllable:
'See Labour's ii.i.19 (p. 244), v.ii.65 (p. 191), Winter's Tale iv.i.22 (p. 191),
I Henry VI i.v.26 (p. 207), Henry VIII 11.iv.159 (p. 207).
CHANGES IN THE SECOND FOLIO 45
Fi: I haue from their confines call'd to enact
F2: I have from all their confines call'd to enact
In the following passages he failed to recognize that earths, houre,
Whales are dissyllabic:
Fi: Earths increafe, foyzon plentie,
F2: Earths increafe, and foyzon plenty
Tempest iv.i.iio
Fi: He meet you at that place Tome houre hence.
F2: He meet you at that place fome houre fir hence.
Errors iii.i.122
Fi: To fhew his teeth as white as Whales bone.
F2: To fhew his teeth as white as Whale his bone.
Labour's v.ii.332
Sometimes, but by no means regularly, he removed extrametrical syl-
lables:
Fi: Were teftimonies againft his worth, and credit
F2: Were teftimonies gainft his worth, and credit
Measure v.i.242
Fi: This man hath bewitch'd the bofome of my childe:
F2: This hath bewitch'd the bofome of my childe:
Dream i.i.27
It is also apparent that he had no idea of the theory of the dramatic
pause which accounts for the lack of a syllable from his change at
Measure 11.ii.117 •
Fi: Thou rather with thy fharpe and fulpherous bolt
Splits the vn-wedgable and gnarled Oke,
Then the foft Mertill: But man, proud man,
Dreft in a little briefe authoritie,
F2: Thou rather with thy fharpe and fulphurous bolt
Splitft the un-wedgable and gnarled Oke,
Then the foft Mertill; O But man! proud man!
Dreft in a little briefe authority.
In some places he tried to cut down alexandrines and even fourteeners
to the compass of normal blank verse, as:
Fi: As you haue euer bin my Fathers honour'd friend,
F2: As you have euer bin my Fathers friend.
Winter's Tale 1v.iv.485
Fi: How dares thy harfh rude tongue found this vnpleafing newes
F2: How dares thy harfh tongue found this unpleafing newes?
Richard II 111.iv.74
46 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Fi: My Thoughts, are minutes; and with Sighes they iarre,
Their watches on vnto mine eyes, the outward Watch,
F2: My Thoughts, are minutes; and with Sighes they iarre.
Their watches to mine eyes, the outward Watch,
Richard II v.v.52
Fi: Seek not my name: A Plague con fume you, wicked Caitifs left:
Heere lye I Timon, who aliue, all liuing men did hate,
Paffe by, and curfe thy fill, but paffe and Jtay not here thy gate.
F2: Seek not my name: A Plague confume you, Califs left:
Heere lye I Timon, who all living men did hate,
Paffe by, and curfe thy fill, but stay not here thy gate.
Timoft v.iv.71-3
The most striking inadequacy of the editor's treatment of the
meter of the plays is his failure to understand the phenomenon of
mislineation. There are only a very few changes of the verse-division
in F2, notably those in Dream, which are indeed excellent, but, ac-
cording to modern editors, drastic rearrangements are necessary in
some of the plays to reform the rhythm. It was Pope who proposed
most of these rearrangements; it may therefore be said that he and
the editor of F2 are the two chief individual reconstructors of the
meter of the text.
The changes affecting the grammar (pp. 122 ff., 165 fif., 187 ff.) of
the passages involved are mostly of rather obvious kinds — changes in
tense, in number, in case, and in person. This is the largest class of
changes : of the 458 which we record, 291 belong to the adopted classes
and 18 to the superseded. Many of the grammatical discords thus
corrected are typographical errors rather than slips on the part of
the author of the plays, and some are doubtless obsolescent usages
and subjunctives. Many of the changes which, according to our
criteria, fall into the intelligible class (p. 200) are identical with other
changes in the adopted class — an interesting comment on the practice
of modern editors.
The mistaken changes affecting the grammar (p. 236) often origi-
nated in the editor's misreading of the passage. Sometimes he was mis-
led by wrong or defective punctuation. At Tivelfth Night iii.i.55 "I
will confler to them whence you come, who you are, and what you
would are out of my welkin," he took ivho you are to go with whence
you come instead of with what follows it and accordingly changed the
last are to is. At Othello ii.i.26,
The Ship is heere put in; A Verenneffa, Michael Caffio...
Is come on Shore:
he rather naturally took Vere?ineffa to refer to Cassio instead of the
CHANGES IN THE SECOND FOLIO 47
ship and so gave it its masculine form, Veroneffo. Sometimes he was
misled by drastic condensation of style, as at Lear 1v.vi.263,
To know our enemies mindes, we rip their hearts,
Their Papers is more lawfull.
which he changed to "are more lawfull," not seeing that an implied to
rip, not Papers, is the subject of this verb. Some of his changes are also
intended to substitute the indicative for the subjunctive, a change
which modern editors find undesirable. ]\Iost of the words inserted to
round out the sentence structure are perfectly reasonable in the con-
text, but as they are not indispensable, modern editors, of course,
prefer the more authoritative reading of the earlier text.
The changes which we classify under the heading of style have
to do chiefly with matters of taste and propriety, the choice and the
form of words. The chief matters of taste concerned are the preference
of one word or form to another (pp. 136, 171 f.) and the order of
words (pp. 136, 171). By the former we mean a change like the sub-
stitution of further i or farther, mine for my, or ivhich for who. Natur-
ally, few such changes have been adopted by modern editors. But
the editor of F2, who was not in the least deterred by the scruples
which forbid modern editors to alter the text unless they think they
are restoring what Shakespeare wrote, evidently had definite ideas
about certain matters of usage which, in justice to him, rAust be called
intelligible. Apparently, for instance, he disapproved of the double
negative and obviated it in four places. There is also some evidence
of a prejudice against the ethical dative. His idea of the difference
between my and mine was apparently different from ours and from
his own idea of the difference between thy and thine. With one ex-
ception, all his changes of m.ine to my occur before a singular noun,
and in the exception {Antony v.ii.222) the noun is Nailes, which, fol-
lowing mine, brings together two w-sounds difficult to pronounce
distinctly. Likewise, of the three nouns before which he changed my
to mine, two are plural and the third is inheritance, which ends in an
5-sound. It is the consistency of these changes that makes us think
them deliberate.
Of his changes of the order of words, again, only eight are followed
by modern editors. Such changes can only tentatively be described
as deliberate: transposition is an easy kind of typographical error.
But from the fact that many of them have the effect of putting the
verb before its subject in a question or what might have been assumed
to be a question, and the fact that a number of others substitute a
more for a less usual order, we think it more likely that those we have
listed were made deliberately.
48 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
The editor's treatment of archaic, obsolescent, and inelegant words
(pp. 135, 170) is quite interesting and affords a rough index to changes
of taste and usage or at least a series of straws showing the way the
wind was blowing. By seventeenth-century standards, all such
changes seem to us perfectly intelligible. The reader must not be
surprised to find that the editor's change oi Jometime to fometimes is
adopted by modern editors at Tempest i.ii.198 and not at 111.ii.133 oi*
that they follow him in changing /om«(/ to /wound at Labour's v.ii.392
but not at Dream 11.ii.154: modern texts are made on larger-minded
principles than that of consistency.
The matters of propriety with which our data show the editor
concerned are rime and the use of broken English and malapropisms.
In nine riming passages he substituted a word that rimes for one that
does not (pp. 140, 172). In one of Sir Hugh Evans's speeches in
Merry Wives he made the Welshman say pelly instead of belly (p.
136). We suspect that this change may be no more than a typograph-
ical error; nevertheless, every subsequent edition has undoubtedly
read pelly. Much more often he tried to reduce broken English,
puns, malapropisms, and quibbles to sense (pp. 209 ff.). In this mis-
taken zeal for correctness, he turned Dogberry's Statues to Statutes,
the nurse's endite to envite and even rectified Bottom's exquisite con-
fusion of his sense-organs {Dream v.i.190-1).
The rectifications of the orthography of scraps of foreign languages
in the plays (pp. 137 f., 171, 190, 246) and of proper names (pp. 138,
171, 190, 211, 246) are also interesting and sometimes clever. The
editor's Latin was evidently good, good enough, at least, to recover
quotations from Mantuan, Ovid, Virgil, and Horace {Labour's iv.ii.
89-90, Shrew iii.i.28, 2 Henry VI iv.i.117, Titus 1v.ii.20-1); his Italian
and French were less good, though he made some partial corrections
in these languages too. His change at Henry V 111.iv.52 is another
illustration of the adage that a little knowledge is a dangerous thing:
he found "fo le Foot & le Count" and made it read "il faut le Foot &
le Count." His alterations of proper names also show some knowledge
of history and the classics. To see Cocitus (Cocytus) in Ocitus {Titus
11.iii.236) or Hiperion (Hyperion) in Epton {Titus v.ii.56) was not the
meanest of his feats.
It is also evident that the editor felt free to alter proper names like
Bullingbrooke, Pembrooke, and Wejlmerland, the spelling of which was
not fixed. With the names of Berowne, Rosencrantz, and Guilden-
stern he took even greater liberties. Berowne (except for two Beroune's
and two Berown's) is the invariable spelling of Fi in the text, the
stage-directions, and the speech-prefixes. In F2 it is invariably Biron
CHANGES IN THE SECOND FOLIO 49
or Birone in the stage-directions and (we believe) Bir. or Biron in the
speech-prefixes; in the text, Berowne survives only four times out of
twenty-seven. The altered spelling was naturally followed in F3 and
F4, in which Berown is preserved only twice, and adopted by editors
down to quite recent times. Possibly the editor felt that the more
palpably French form of the name was more appropriate in this play.
Rosencrantz appears in Fi as Rofincrance (except for two Rofincrane
and one Rojlncran misprints) and his partner as Guildenjlerne or
Guildenjlern. In F2 they are invariably Rofincros or Rofincroffe and
Guildenftar or Guildenjlare. Is it possible that the editor knew that
Stern means star and preferred the Anglicized form of the name? If
he altered Rofincrance on the parallel assumption that Crantz means
cross, he was, of course, mistaken.
We also list here (pp. 213 ff.) a number of examples of the expan-
sion of contractions, with the warning, however, that we are not fully
convinced that they are all deliberate changes. There are, however, so
many of them and this kind of normalizing is so much what one ex-
pects of an editor who is trying to tidy up the text he is overseeing
that we think it probable that many of them are intentional.
The various substitutions listed under intelligible and mistaken
changes seem to us to be attempts to improve the text. Although
some of them are the kind about which one cannot feel perfectly
sure, they seem to be deliberate changes, but the motives that lie
behind them are not always obvious. There are a few which seem to
have been made for the sake of euphony or uniformity (p. 242), but
too few to give us much confidence in this grouping. Those which
seem intended to carry out parallelism of expression (p. 212) look
more certain. Those which substitute a more for a less usual word,
so far as they are certainly deliberate, and those which attempt to
improve the text by expressing its sense in more literal language (pp.
243 ff.), which are the largest classes, are just what one expects from
an editor who feels free to perfect the imperfections of the author he
is editing. While there are not as many of them as one would expect
from an editor who took this duty seriously, there are enough to make
us feel that, in general, we have described the motives behind them
with sufficient accuracy.
After this brief review of the work of the editor of F2 or, much
better, an inspection of the evidence in full below, we think there can
be but one answer to the questions we have proposed. In the first
place, the text of the plays was undoubtedly revised and corrected
by intention: more than eight hundred emendations accepted by
most modern editors do not find their way into the text in a single
50 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
edition through the irresponsible improvisations of typesetters and
proof readers. Furthermore, the editor's emendations are not only
numerous but, far from being as a rule arbitrary and needless, quite
as often right as wrong. That they have made a substantial contribu-
tion to the standard text of Shakespeare to-day is self-evident. The
only point which remains to be taken into account, the editor's errors
of omission, will be considered below.
§5
Changes in the Third Folio
In F3 we find a total of 943 editorial changes, about one to a page
or 26 to a play. Although this is only a little more than half the
number found in F2, it is a good deal more than might be expected
in an edition of which the commentators have invariably spoken
slightingly. In view of the fact that there is also an equal number of
corrections of obvious typographical errors and of improvements of
the punctuation and that the spelling is modernized with fair con-
sistency throughout, a typical statement like Lee's that F3 is "mainly
a reprint of the Second" is clearly wide of the mark.
Of these 943 changes, 314 have been adopted by modern editors,
168 restore the reading of an earlier text (a quarto or Fi), loi have
been superseded by more authoritative readings, 187 are intelligible,
and 173 are mistaken. If we lump the changes which restore the read-
ing of an earlier text with the adopted changes, the proportion of
necessary and desirable changes to unnecessary and undesirable is
slightly higher than in F2. The figures are 50% for F2 and 51% for
F3. The proportion of superseded, intelligible, and mistaken changes
in F3 is very much the same as in F2; the figures are 10%, 19%, and
21% for F2 and 10.5%, 20%, and 18.5% for F3 respectively. The
correspondences between these figures seem to us remarkable, es-
pecially since our classification of adopted and superseded changes
rests entirely on objective criteria, so that the totals cannot have been
influenced by our own methods of judgment. These figures show that,
when he saw fit to make a change in the text, the editor of F3 made a
good one just as often as did the editor of F2.
The distribution of changes among the categories of thought, ac-
tion, etc., however, differs from that in F2. Changes relating to the
action of the plays are again fewest (54), but st^distic changes rather
than rectifications of grammar are most numerous (332). The latter
fact is not hard to understand: the supply of errors of grammar in
the text, so to speak, would naturally tend to become exhausted, and
CHANGES IN THE THIRD FOLIO 51
the higher proportion of stylistic changes is largely accounted for by
a natural increase in the number of substitutions for words which in
three crowded decades had become archaic and obsolescent.^ The
most striking difference from F2 is the much smaller number of
metrical changes — 88 as compared with 360, or, to convert these
figures into percentages to make the comparison more significant,
9% as compared with 21%. In our opinion, however, this marked
drop is to be explained not so much by the fact that most of the
necessary rhythmical adjustments had already been made as by the
superior competence of the editor of F2 in this kind of emendation.
The changes in F3 are unequally distributed among the plays. The
smallest number of corrections, two, is found in Measure, and there
are but eleven or fewer in Gentlemen, John, Merry Wives, Winter's
Tale, and Richard II. Two of these (John, Richard II) were among
the least altered in F2. The largest number of changes is found in
Antony, closely followed by Titus, Hamlet, Coriolanus , and Lear. The
most significant inference from these figures is that the plays in which
the fewest corrections are found are nearly all comedies and those in
which the most are found are all tragedies. In general, too, correc-
tions are here fewest in the comedies and most numerous in the
tragedies. The average for the comedies is 19, for the histories 26, for
the tragedies 35. To be sure, certain discrepancies of the same kind
appear in F2: here the lowest average is found in the histories, 34.5;
that for the comedies is 42 and that for the tragedies 62. An average
of twice as many changes in the tragedies as in the comedies, however,
may reflect something more than the causes (such as greater length,
the corrupt state of certain texts, and unequal distribution of edi-
torial care) which would naturally produce more changes. It is pos-
sible that the editor was guided to some extent by his interest in, per-
haps even his understanding of, the plays. It is a known fact that the
taste for Shakespeare's comedies declined much more rapidly in the
second half of the seventeenth century than the taste for his trag-
edies. Perhaps it was partly because the editor looked on the comedies
as trifling and inconsiderable and on the histories and tragedies as
serious dramatic efforts worthy of his attention that he expended
greater care on the latter.
There is nothing in the changes we have found in F3 to lead us to
suppose that the editor proceeded differently from the editor of F2.
He too read through the plays critically and made whatever altera-
tions common sense suggested to him. There is no more evidence
^ This process of clarifying and modernizing passages for later seventeenth-century
readers is observable in the anthologies referred to on p. 24 and in the appendix.
52
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
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CHANGES IN THE THIRD FOLIO
53
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54 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
here than in F2 of any consultation of earlier printed texts and, in the
superseded changes, just as good evidence of the absence of system-
atic collation with Fi and the quartos. A brief review of these changes,
or an examination of our data below, will show that, for the most
part, they follow the same lines as the changes found in F2.
The changes affecting the thought which we have found in F3 are
practically indistinguishable in kind from those found in F2. Because
the corruptions corrected by the changes classified as adopted (pp.
247 ff.) were overlooked by the editor of F2, one might expect them
to be superficially plausible readings and not obviously corrupt. To
some extent, they are: a number of the new readings of F3, at least,
indicate a close scrutiny of the text. The change at Labour's v.i.21,
for instance, "this is abhominable, which we would call abominable,"
for "which he would call abhominable" {ive for he is probably a typo-
graphical error rather than a deliberate alteration), even shows a
touch of the antiquarian spirit, or at least a recognition of the variant
pronunciations of the word. But, in general, it is doubtful that the
changes in F3 show a sagacity or discernment superior to that evinced
in F2: some of them are fairly obvious and some much less so, in
both folios. It is noteworthy that there are few emendations by pure
guesswork in F3, but those that there are do credit to the editor.
That at Coriolanus ii.ii.79, for example, is a stroke of inspiration:
F2: He had rather venture all his Limbes for honor,
Then on ones Eares to heare it.
F3: He had rather venture all his Limbs for honor.
Than one on's Ears to hear it.
The changes which restore the reading of Fi (pp. 264 ff.) are, of
course, corrections of unobtrusive typographical errors in F2. Whether
the editor was aware of this fact we do not know, but we suppose
that he thought very little about it. To him a defective line like "but
is in a fuite of buffe which refted him," which stood thus in both Fi
and F2, looked exactly like "If do not put on a fober habite," which
read "If I doe" in Fi. He was not conscious of doing anything differ-
ent in making the first read "but he's" from altering the second to
"If I doe." Some of these unobtrusive errors, however, make suffi-
ciently good sense to pass anything but the closest inspection, e.g.:
F2: Hath Butler bought thofe horfes from the Sheriffe?
F3: Hath Butler brought thofe horfes from the Sheriff.?
I Henry /Fii.iii.64
F2: Thou that contrived'ft to murther our dread Lord,
F3: Thou that contrived'ft to murther our dead Lord,
I Henry VI i.iii.34
CHANGES IN THE THIRD FOLIO 55
F2: that ftole I old Aloufe-eaten dry cheefe, Neftor:
F3: that ftale | old Moufe-eaten dry-cheefe, Neftor:
Troilus v.iv. 10
The intelligible changes affecting the thought (pp. 294 ff.) consist
of mistaken corrections in undoubtedly corrupt passages, for which
the editor deserves at least the credit of having detected the corrup-
tion, or of attempts to improve the text which, though they have
something to recommend them, most modern editors will not allow.
Among the former occurs the drollest exhibition of mistaken in-
genuity in the whole canon. At Merchant v.i.41, F2 reads, "Sola, did
you fee M. Lorenzo, and M. Lorenza, fola, fola." "M. Lorenza" is
a typographical error for "IM. Lorenzo,'' the reading of Fi, but to
the editor it looked like the feminine form of Lorenzo's name and the
designation of a different person from Lorenzo (modern editors omit
and) and so he changed it to "Mrs. Lorenza." As for his improve-
ments, while they are certainly unnecessary, they are, as a rule, quite
understandable. There are hardly enough of them to establish clearly
a general tendency, but it is frequently evident that the editor tried
to alter obscure, unorthodox, or far-fetched expressions to something
which, to the literal-minded at least, would be more readily clear.
The same effort may be observed in the mistaken changes affecting
the thought (pp. 304 ff.). These changes rest on misinterpretations,
sometimes of the circumstances, sometimes of a word, sometimes of a
whole idea or image, but their purpose is to make clear what seemed
to the editor not clear enough or to make right what his standards
of propriety adjudged wrong. The correction at Hamlet v.ii.388 is
stupid, but perfectly understandable. After Hamlet's death, Fortin-
bras says, "Beare Hamlet like a Souldier to the Stage," meaning the
stage ordered erected some twenty lines earlier. The editor, how-
ever, thought he must have meant the platform of the theater and so
made him say "off the Stage." His change at As You Like It 1v.iii.158
could even be defended. After Oliver has brought Rosalind Orlando's
blood-stained handkerchief and she has fainted, Oliver says, "Many
will fwoon when they do looke on bloud." Then Celia cries, "There
is more in it." This the editor changed to "There is no more in it,"
on the supposition, presumably, that it is dramatically inappropriate
for Celia to excite suspicions in Oliver's mind, that she should, on
the contrary, protect Rosalind's disguise and try to allay them.
The changes pertaining to the action of the plays (pp. 251 f.) are,
except for a few additions and omissions of entrances and exits,
mostly reassignments of speeches. Some of these, such as Por[tia] for
Pro., correct obvious typographical errors. At the opposite pole is
56 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
the assignment to Falstaff of his page's speech at 2 Henry 1 V 11. i.
57-8, an innovation which, although both Q and Fi are against it,
has been adopted in most modern editions. Virtually all of the
changes affecting the action which restore the reading of Fi (pp.
273 ff.) are corrections of the errors of the compositors of F2. The
editor's attempt to deal with the confused distribution of speeches at
Much Ado II. i. 87-96, still a thorny problem for editors, is noteworthy.
Failing, we imagine, to identify Margaret, whose entrance is not
separately noted in the stage-directions, but is presumably covered
by the term Maskers, the editor gave her speeches to Mas. or Mask;
in modern editions the difficulty is resolved by transferring to Bal-
thasar the speeches assigned to Benedick. We find only one intelligi-
ble (p. 295) and five mistaken (p. 311) changes pertaining to the
action. Helena's speech at AWs Well 11. iii. 64-70, which in F2 reads
I am a fimple Maide, and therein wealthieft
That I proteft, I fimply am a maide:
Pleafe it your majeftie, I have done already:
The blufhes in my cheekes thus whifper me,
We blulh that thou fhouldft choofe, but be refufed;
Let the white death fit on thy cheeke for ever,
Wee'l neere come there againe.
evidently nonplussed the editor; failing to understand that in the
last three lines she is addressing herself on behalf of her blushes, he
changed "Let the white death" to "Let not white death" and added
them to the succeeding speech of the king.
The changes afifecting the meter are not only much fewer than
those in F2, as was noted above, but also comparatively timorous.
Most of the adopted changes (pp. 251 ff.) are elisions and most of
those which restore the reading of Fi (pp. 275 fT.) supply words ac-
cidentally omitted in F2. The mistaken changes (pp. 311 fif.) are
mostly due to a determination, sporadically manifested, to make the
verse conform to the standard pattern of ten syllables and to abridge
the freedom which Shakespeare allowed himself.
The changes under the head of grammar (pp. 253 fif., 277 fif., 291
fif.) follow the same lines as those found in F2: the verb is put into the
same number as its subject or the subject into the same number as
its verb; verbs in the second person singular are given the distinctive
personal ending, etc. The fairly numerous intelligible changes (pp.
296 fif.) follow the same principles, and we are obliged to classify
them as intelligible rather than adopted only because modern editors
are at times willing to admit into their texts, not always on consistent
principles, archaisms and irregularities which the editor of F3 thought
CHANGES IN THE THIRD FOLIO 57
it advisable to reduce to conformity with the approved usage of his
day.
The most important as well as the most numerous of the changes
collected under the head of style are substitutions for obsolescent,
archaic, and inelegant words. Like the corresponding but less fre-
quent changes in F2, they were made on the principle that the reader
would better understand or appreciate current than outmoded lan-
guage. Furthermore, the changes which we list in the adopted cate-
gories (pp. 256 f., 282 f.) are indistinguishable from those which we
call intelligible (pp. 299 f.). Some changes, such as ignominy for
ignomy, its for it, sometimes for sometime, threaten for threat, appear in
both lists; the difference between them does not lie in the principles
on which the editor of F3 worked but in the practice of modern
editors of treating each passage on its individual stylistic and textual
merits. From the old editor's point of view, any one of these would
have seemed just as good as any other. It would probably be difficult
to explain to him, assuming that communication could be established,
why some of them have recommended themselves to modern editors
and some have not.
It may be well to mention the fact that F3 is the first text to take
steps to bring about some uniformity in the spelling of the name of
Ned Poins. In Fi it appears as Pointz, Points, Poynes, and Poines.
Curiously enough, on its first appearance in the text, in Merry Wives,
and in the first scene in which it appears in both / and 2 Henry IV,
the spelling, in the text and the stage-directions, is invariably Pointz.
F2 follows Fi with only a little vacillation between i and y. F3, how-
ever, after altering the first Pointz {Merry Wives 111.ii.63) to Poinz,
repeating the next two (i Henry IV i.ii.i, 103), and turning the
Poines at / Henry IV l.ii.108 into Pointz, uniformly suppresses
the /, and in 2 Henry IV the e as well. F4 carries on the same tend-
ency, omitting all surviving /'s and still more e's and printing i and
y about an equal number of times.
The mistaken changes collected under this heading (pp. 317 fT.)
are not to be generalized about with confidence. In the first place,
the number of them is surprisingly small. In the next, as was re-
marked above, some of them may be typographical errors. A few of
them seem to us to have been dictated by a desire to attain euphony
or uniformity of expression or to avoid bald repetition. Some (and
these are perhaps the most exposed to the suspicion of being typo-
graphical errors) substitute a pronoun for an article — that for the,
my for a, thine for the. In the largest group, the editor seems to have
been concerned to substitute a more usual or more literal expression
58 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
for an eccentric or far-fetched expression which he found in the text,
or perhaps he felt that his substitute made the meaning clearer.
Thus he altered "He give you health" (2 Henry IV v.iii.24), a mis-
print omitting the a of Fi, to'Tle drink your health"; "I will take thee
a box on the eare" {Henry V iv.i.213) to "I will give thee a box on
the ear." This kind of fastidiousness remained characteristic of Shake-
speare's editors for at least a hundred years after 1664.
By comparison with those found in F2, the emendations inserted
in the text in F3 seem few and unexciting. On the other hand, as we
have intimated, it should be remembered that a large number of the
most apparent defects of the text of Fi had already been mended in
F2, that the opportunity open to the editor of F3 was smaller by just
so much good work as the editor of F2 had done. Moreover, our data,
in at least one respect, hardly do justice to F3, since they do not at-
tempt to record the hundreds of corrections of obvious typographical
errors for which the editor may well have been responsible. The care-
less workmanship of the Cotes printing office had strewn these thickly
through the text; most of them were methodically set to rights in F3,
along with a certain number of unobtrusive mistakes which appear in
our lists (changes which restore the reading of an earlier text). Al-
together F3 is a more satisfactory text for the uncritical reader than
its predecessor; it is not disfigured nearly so much by gross typo-
graphical errors, and while it retains, of course, many of the unob-
trusive accidental variants^ and nearly all of the mistakes of judg-
ment of the former, it also clears up a number of passages which there
remained corrupt. However poor a showing F3 may seem to make by
comparison with F2, our data show that it represents, in various ways,
an advance in the process of rectifying the text of the plays.
§6
Changes in the Fourth Folio
There is much to be said for F4 as the most readable text and the
most workmanlike piece of printing of the four folios. On the whole,
though far from being perfect, the composition and presswork are
superior to those of its predecessors. The spelling of the text is in
general brought up to date and considerable consistency of typo-
graphical practice is achieved, especially in the use of italics, the plac-
' It is just as well to remember that it was not until almost the end of the eighteenth
century that all of these were finally expunged from the text. From the charge of
perpetuating some of the errors, accidental and otherwise, of its predecessors, no
text before Capell's is exempt.
CHANGES IN THE FOURTH FOLIO 59
ing of stage-directions, etc., and the use of capital letters. The punctu-
ation is also a good deal improved in many ways. To be sure, it is
chiefly the more obvious stops that are supplied or altered; many
difficult corruptions due to wrong or defective punctuation are al-
lowed to stand.
From these facts and from the character of the editorial changes
which we have found in the text, we are inclined to think that the
"editor" of F4 was the three proof readers employed in the three
printing offices in which the book was set up (see above, p. 28 ff.),
and indeed we had come to the opinion that the revision of the text
was the work of a proof reader before we noticed the evidence de-
tailed above which seems to warrant the assumption of different edi-
torial hands in the three divisions of the book. Our data make it
plain that the editor of the second division was the most alert and
the most successful of the three, but they show very little difference
among the three revisers in the aims they pursued. Their minds were
fixed on the job of printing under their superintendence, not on
Shakespeare's plays; their object was to produce a creditable speci-
men of the printer's art and a book that buyers could read with ease.
If we may take the taste of their contemporaries and some evidence
in their editorial work as criteria, they cared little for the plays as
drama or poetry; they were concerned only to make them easy to
read, and that chiefly by means of the technique of their vocation.
In doing so, they introduced a few very striking emendations into the
text, but the great bulk of their work, we think, being of the kinds
specified above, has passed almost unnoticed.
In F4 we find 751 editorial changes, 192 fewer than in F3 and less
than half as many (44.8%) as in F2. Of these, 45% (192 original
emendations and 138 readings which restore the text of a quarto or
of Fi or F2, a total of 330), are followed by modern editors; 60 (8%)
are superseded changes; 269 (35%) intelligible changes, and 92 (12%)
mistaken. The proportion of necessary and desirable changes is there-
fore somewhat smaller than in F2 and F3, in which it was 50% and
51% respectively. The high proportion of intelligible changes (35%
against 19% in F2 and 20% in F3) is due almost entirely to the large
number of changes in diction (substitutions of a current for an
obsolescent form or of a synonym). The comparatively small num-
ber of mistaken changes (12% against 21% and 18.5%) may also be
due, in part at least, to the same cause; half of all the changes in F4
fall under the head of style and, according to our criteria, stylistic
changes are as a rule intelligible. It may also reflect a certain lack of
aggressiveness on the part of the editors, who were, we imagine, for
60
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
F^OX
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Twelfth Night
Winter's Tale
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1 Henry IV
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I Henry VI
CHANGES IN THE FOURTH FOLIO
61
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62 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
the most part content to make changes only when, according to their
standards, there could be no doubt of their propriety.
In F4 changes affecting the action and meter sink to almost negligi-
ble proportions. There are only 13 of the former and 38 of the latter,
or 2% and 5% respectively of all the changes in comparison with
8% and 21% in Fo and 6% and 9% in F3. The proportion of changes
affecting the thought, 26%, is almost the same as in F3, and higher
than in F2 (23%). But there are relatively fewer changes for the sake
of grammatical agreement (17% in F4, 23% in F3, 27% in F2) and
more stylistic changes (50% in F4, 35% in F3, 21% in F2). In other
words, the editors of F4 seem to have been most concerned to correct
and improve the choice and use of words. Indeed, as will appear be-
low, a good many of the changes classified under the head of thought
are also evidence of this fact. They took few liberties with the stage-
directions and speech-prefixes; they cared little about the rhythm of
the verse; they pounced on a grammatical discord when they saw it,
but the supply of such discords, although replenished to a small ex-
tent by new unconscious errors in each successive edition of the plays,
was tending towards exhaustion; above everything else, they had a
good idea of the meaning of words and a shrewd sense of their fitness.
The distribution of changes among the plays varies a good deal.
The smallest number, four, is found in Gentlemen and Errors, and
there are fewer than ten each in Measure, Macbeth, Twelfth Night,
Shrew as well. Most of these plays were seldom altered in F3 too. The
largest number of changes, 71, is found in Coriolanus ; then follow,
in order, Romeo, Titus, Henry VIII, Richard III, Joh?i, Hamlet.
All these plays except Hamlet belong to the second division. Corio-
lanus, Romeo, and Titus appear close to the top of the list in both of
the other folios, but the appearance here of John, with 32 changes, is
something of a surprise, for in Fo it stood at the foot of the list and in
F3 third from the bottom. The increase is due almost entirely to ver-
bal substitutions. There is again a noticeable discrepancy between
the number of changes found in the comedies and in the tragedies.
While the average number of changes for all the plays is 20.9, the
average for the comedies is only 11, for the histories 22, and for the
tragedies 31. It may be doubted, however, whether these differences
reflect anything (except the shorter average length of the comedies)
which does not also account for the differences in the number of
changes found in the three divisions of the book.
The changes affecting the thought in F4 (pp. 320 fi., 337 £f.) are
not easy to describe. Comparatively there are not many of them and
some of those that we have found are not very remarkable. On the
CHANGES IN THE FOURTH FOLIO 63
other hand, there are a few which are quite remarkable, including one,
the disentangling of some stage-directions from the text at Richard
III IV. i. 9 2-4, already mentioned above (p. 26), as remarkable as any
other emendation in all three folios. On this showing, the forte of the
editors appears to have been an exact sense of the meaning of words
and a vocabulary of some range, as changes like the following sug-
gest:
F3: Ye fhall have a hempen Candle then,
F4: Ye fhall have a hempen Caudle then,
2 Henry VI 1v.vii.84
F3: now bull, now dog, low; Paris low; now my double | hen'd
fparrow; low Paris, low;
F4: now Bull, now Dog, 'loo; Paris, 'loo; now my double | hen'd
fparrow; 'loo, Pam, loo;
Troilus v.vii.io-i
F3: The Darnell, Hemlock, and rank Femetary,
F4: The Darnel, Hemlock, and rank Fumitory,
Henry V V.ii.45
F3: Hound or Spaniel, Brache, or Hym:
Or Bobtail tight,
F4: Hound or Spaniel, Brache, or Hym:
Or Bobtail tike,
Lear 111.vi.69
It cannot be said, however, that they were altogether insensitive to
dramatic propriety, as appears in changes like the following:
F3: To a low Trumpet, and a Point of War?
F4: To a lowd Trumpet, and a Point of War?
2 Henry IV iv.i.52
F3: I cannot bid your daughter live,
F4: You cannot bid my daughter live,
ME: I cannot bid you bid my daughter live;
Much Ado v.i.265
And they wrestle with a few desperately corrupt passages to good
effect, even though they do not always recover the sense of the earli-
est texts:
F3: We fhould take root here, where we fir;
Or fir State Statues onely.
F4: We fhould take root here where we fit;
Or fit State-Statues only.
Henry VIII i.ii.87
F3: My Birth-lace have I, and my lover upon
This Enemie Town lie enter, if he flay me
He does fair Juftice:
64 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
F4: My Birth-place have I, and my Lover left; upon
This Enemy's Town I'le enter, if he flay me,
He does fair Juftice:
ME: My birthplace hate I, and my love's upon
This enemy town. I'll enter: if he slay me,
He does fair justice;
Coriolanus lv.iv.23-4
F3: I was the firft-born Son, that was the lalt
That wore the Imperial Diadem of Rome:
F4: I was the firft-born Son of him that laft
Wore the Imperial Diadem of Rome:
ME: I am his first-born son that was the last
That wore the imperial diadem of Rome;
Titus i.i.5-6
A certain literal-mindedness appears in many of the intelligible
(PP- 355 ff-) and mistaken (pp. 370 ff.) changes, most notably, per-
haps, in the complete misunderstanding of Benedick's hyperbole, "I
can be fecret as a dumb man," which prompted the F4 reviser to
emend, "I cannot be fecret as a dumb man" {Much Ado i.i.180).
Their fastidiousness about words again appears in alterations of
archaic or strained locutions which they endeavored to reduce to
plainer sense. For example, the word sennet evidently was as obscure
to the editor of the third division as to the editor of F2,^ and at
Caesar i.ii.24 s.d., in a scene at which the Roman senate conceivably
could have been present, he changed it to Senate. "The hand of death
hath raught him" {Antony 1v.ix.29) he turned to "caught him." The
undoubtedly curious use of defenjible at 2 Henry IV 11.iii.38 puzzled
the editor and he altered to fenfible.
Altogether, we are inclined to think these changes depict the work-
ings of the proof reader's mind. This mind is at its best in dealing
with usage, uniformity, and punctuation; at its worst in dealing with
the dramatic side of the plays, the action and the rhythm. It is not
strikingly bold or ingenious, though our data accredit a palpably
greater boldness and ingenuity to the editors of the second and third
divisions than to that of the first. Within the limits indicated, the
minds revealed in the changes in F4 are good minds. They are not
very quick, perhaps, to seize on the less readily apparent defects of
the text; they are more concerned with the import of words than
with that of clauses and sentences; but once their attention has been
fixed on a corruption in the text they are more likely than not to
em.end it intelligently. Their failure to grasp the imagery of certain
passages which they wrongly or unnecessarily altered betrays a cer-
^ See p. 41.
CHANGES IN THE FOURTH FOLIO 65
tain lack of imagination. In short, they seem to us — with all due
allowance for occasional instances of surprising editorial ingenuity —
to have been first and foremost the minds of competent proof read-
ers.
There are very few changes affecting the action of the plays in F4;
most of them alter the distribution of speeches. Some of these correct
obvious mistakes and some are very shrewd guesses, the final rectifi-
cation of the wrong distribution of speeches at Romeo i1i.ii.71-4
(see p. 344) and the superseded change in Titus (see p. 352) being
particularly notable.
Likewise the changes affecting the meter are few and unremark-
able. Most of them are elisions. The fact that, in making other alter-
ations, the editors often destroyed the rhythm of a line makes us
think that they were not particularly sensitive to the metrical flow
of verse. The elisions for which they are responsible might well be
set down to the desire for uniformity of printer's style which is char-
acteristic of them.
In changes affecting the grammar and style, F4 makes a more im-
pressive showing. The changes intended to bring about grammatical
regularity are fairly numerous and follow the same lines as those ob-
served in the previous folios. The changes classified under the head
of style, which are, for the most part, similar to those found in F3,
are again quite interesting.
The most conspicuous of these are — as in F3 — substitutions for
archaic, obsolescent, or inelegant words (pp. 327, 347). They are
more numerous than those in F3 and affect the same kinds of words.
So far as our data go, vilde and its various derivatives undergo change
(to vile) more frequently than any other outmoded form. Among the
most interesting of these changes are Alahlajler to AlabaJIer (Richard
III iv.iii.ii), Poefie to Pofie (Hamlet 111.ii.147), Ahram to auburn
(Coriolanus Ii.iii.i8). The same relationship between the adopted and
the intelligible changes (pp. 364 ff.) of this kind that was commented
on apropos of F3 (p. 57) obtains here. A peculiarity of F4 is the edi-
tors' habit of expanding contractions (p. 369), especially in the
second and third divisions; we have noted many more examples
than in either of the other folios. What was said above (p. 57) with
regard to the mistaken changes under the head of style in F3 applies
equally well to the comparatively small number found in F4 (pp.
376 ff.).
It is our opinion that, on the whole, F4 has been generally under-
rated. We doubt that our own data do it full justice, for we have the
impression that the Cambridge editors collated it somewhat negli-
66 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
gently.^ It has often been spoken of disparagingly for not doing what
it never set out to do and has seldom received credit for what it did
do. There is less difference between it and Rowe's edition than most
people suppose. It is even arguable, we think, whether Rowe's use
of F4, "the worst of the four [folios],"^ as the basis of his text was as
heinous a crime as students of Shakespeare usually imply. Whatever
else it may have been, it was, from Rowe's point of view, the most up-
to-date and the most convenient edition and if (as is far from certain)
he deliberately selected it in preference to one or more of its prede-
cessors, he probably did so for the same reason that Theobald pre-
ferred F2 to Fi,viz., that it had the advantage of various readings.
One might even, without posing as devil's advocate, question whether
F4 really was the worst of the four, w^hether its accumulation of fifteen
hundred valid corrections and improvements does not balance its
accumulation of mistakes and misprints. We have no desire to over-
praise it, or even to praise it, but we think that, in the interest of
accuracy, its care in the presentation of the plays to the reader
should be recognized and its demonstrable share in the gradual proc-
ess of mending and restoring the text of Shakespeare set down to its
credit.
§7
Editorial Changes Affecting the
Punctuation Alone
The reader who examines the data in Part II will notice in how
many of the passages there set forth some adjustment in the punctua-
tion accompanies a correction in the wording.^ In a considerable
number of instances, however, the folio editors altered only the punc-
tuation. These instances have been segregated for special study, and
form the material of the present section, the results being disregarded
in the statistical tables and in the introductory discussion of each
folio editor's work as a whole.
' See p. 98. When we ourselves collated 76 passages containing the word month,
we found 36 places in F4 where month was substituted for the moveth of F3. Of these
only three are mentioned in the Cambridge edition. We have noticed a number of
readings attributed by the Cambridge editors to Rowe which actually appear in F4.
' T. M. Parrott: William Shakespeare: a Handbook (1934), p. 208.
1 Compare for example Coriolanus i.iv.56:
Fj: Thou art left Alar tins,
A Carbuncle intire: as big as thou art
Weare not fo rich a lewell.
Fa: Thou art left Martins,
A Carbuncle intire, as big as thou art,
Were not fo rich a Jewel. ^
EDITORIAL CHANGES AFFECTING PUNCTUATION 67
One reason for isolating this material is that we are here, perhaps,
less sure than elsewhere when a change is intentional. Obvious mis-
prints the correction of which seemed within the scope of an ordinary
compositor have of course been omitted from the reckoning. But
wear and tear on these smallest of type faces, and mechanical acci-
dent— the likelihood of which is increased by the smallness of the
marks and by their special vulnerability when occurring at the end
of a line — often render it next to impossible to determine what the
punctuation really is. Variation in pointing between copies of the
same edition adds to the confusion. Ample allowance must be made
for the notorious laxity of the typesetters. Hundreds of apparently
irresponsible changes in the later folios can only be the result of care-
less composition. So numerous are these that it would be strange if
none of them happened by the purest chance to improve the mean-
ing. But we submit that few of the 173 adopted changes reprinted
in the following pages can be the result of chance or of human falli-
bility. They are, in our judgment, as truly editorial as those in any
other section. 2
The changes in punctuation analysed total 2743^ and include sub-
stantially all those noted in the Cambridge edition of 1891-3, with
additions from volumes of the Furness Variorum, and from our own
collation. Meaningless variations in usage between one folio text and
another, and between Elizabethan and modern practice, have been
disregarded. In F2, for example, a semicolon appears for a hyphen in
compound words with sufficient frequency to suggest that it may
2 The page from the first folio, bearing the original proof corrections, now in the
Folger Library, and reproduced by Willoughby in The Printing of the First Folio of
Shakespeare (London Bibliographical Society, 1932), shows three actual changes of
pointing. One is the omission of a comma which is a fairly obvious misprint; another
is the insertion of a comma between two fairly obvious coordinate clauses. The third
is of the kind that we classify under "clarifications of the meaning":
Agr. He ha's a cloud in's face.
Eno. He were the worfe for that, were he a Horfe fo is he being a man.
is corrected thus: q
Eno. He were the worfe for tha^were he a Horfe. fo is he being a man. £/S y
I ^ Antony ni. 11.51-3
^ In view of the theories advanced by several scholars concerning the relative care
with which the different sections of the folios were edited, it is interesting to note
that the 2743 changes examined divide as follows: for the 14 comedies, 717 changes;
for the histories, 10 in all, 442 changes; and for the 12 tragedies, 1584 changes. This
gives an average of 51 changes per play in the comedies, 44 in the histories, and 132
in the tragedies, so that the tragedies have three times as many per play as the
histories, and two and one half times as many as the comedies. Comparable averages
per page are as follows: comedies, 2.2; histories, 1.6; tragedies, 4.9. These agree in pro-
portion fairly closely with the averages per play, and seem to indicate that most care
was taken with the tragedies, much less with the comedies, and still less with the
histories.
68 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
have been an allowable use, though it was more probably an idio-
syncrasy of the printer, or an eas}^ mechanical error. The hyphen is
substituted by F3 in most of these cases. F2 also employs at times a
comma at the end of an interrupted speech where F3 and subsequent
editions have a dash. The insertion of an apostrophe to indicate a
contraction has been noted only when the original form makes a
different sense, e.g. give's, meaning "give us," for gives. The curious
apostrophe which appears occasionally in all the folios, apparently
to denote the omission of understood parts of speech,^ has not been
considered to affect the meaning or style. The substitution of a
period for a comma at the end of a speech where there is no hint that
the succeeding speaker interrupts, or where the construction and
capitalization indicate the end of a sentence, has been disregarded as
being within the scope of the typesetter. No account has been taken
of the alternation of interrogation point and exclamation point; nor
have we attempted to distinguish the weight and significance of colon,
semicolon, and period, or of commas and parentheses.
A tabulation of the 2743 intentional changes reveals considerable
variance between the figures for individual plays. In Cymbeline, for
example, 269 changes are noted, in Lear 201, in Coriolanus 159; in
Gentlemen only 19, in i and j Henry VI 17 each. Variations so marked
cannot be entirely explained by the proportionate length of the plays
involved and the condition of the text; but since the number of
changes affecting the thought in a given play does not increase pro-
portionately with the total number of changes examined for that
play^ we may reasonably assume that the judgment of the Cambridge
editors is sound and that additional collation would add little to the
picture.
The impression formed of the relative competency and the spe-
cial interests of the editors of the three later folios, in our study of the
verbal changes which they made, is substantially borne out by the
examination of their work on the pointing. F4 is, on the whole, the
best performance of the three. Despite the substantial improvement
already made by F2 and F3 it attempts a few more improvements
(1049) than does F3 (996) and many more than F2 (698); and it is
responsible for more of the adopted emendations affecting the
thought than either F2 or F3, though it also makes more errors than
either. On certain points of style F4 is remarkably thorough and con-
* See for example Shrew 11. i. 209, F3F4.
* For example, we find in All's Well as many emendations affecting the thought as
in Cymbeline (24 in each), though the total number of changes examined in All's Well
is only 80, while in Cymbeline it is 269.
EDITORIAL CHANGES AFFECTING PUNCTUATION 69
sistent, as, for example, in the removal of superfluous stops, the set-
ting off of vocatives and appositives, and the insertion of the apos-
trophe in possessives.
Expressing our comparison statistically, we find that in the com-
edies section the editor of F2 attempted 217 changes, of which 172
— the high percentage of 79 — are correct. In the histories section he
attempted but 89, of which only 46 or 52% are correct. In the trag-
edies section he attempted 427, of which only 183 or 43% are correct,
indicating perhaps, exhaustion as he neared the end of his task. The
editor of F3 attempted in the comedies section 196, of which 143 —
73% — are correct, in the histories section 152, of which 87 — 57% —
are correct, and in the tragedies section 660, of which 474 — 71% —
are correct. The "editor" of the comedies section^ of F4 attempted
304, considerably more than the editor of F2, and had 239 correct —
78%, nearly as high a proportion as F2. In the histories section 201
are attempted, of which 124 — 62% — are correct, and in the tragedies
section 497, of which 344 — 69% — are correct.
Thus the quality of editorial performance is seen to have grown
consistently better, F2, despite its high average in the comedies,
averaging for the entire folio only 58% of correctness, F3 67%, F4
70%. The brilliance of F2 appears when the three are compared as to
their relative correctness in changes affecting the thought. F2 here
stands first, having 65 correct out of 115 attempts or 56%, while F3
has 41 out of 100 — 41% — and F4 67 out of 139 — 48%.
On the whole, however, the three later folios are more nearly alike
in their handling of the punctuation than in the other phases of
editorial revision, and in view of the opprobrium that has been
heaped by scholars on Elizabethan and seventeenth-century print-
ers, editors, and authors for their carelessness about punctuation, we
have been more concerned to display the folio editors' achievement
as a whole. We therefore study as one group the 2743 intentional
changes in the three later folios. They are classified as follows:
I. Adopted changes affecting the thought, 173;
II. Superseded changes affecting the thought, 22;
III. Mistaken changes affecting the thought, no;
IV. Clarifications of meaning, 686;
V. Acceptable omissions, additions, and relocations of marks,
not seriously affecting the meaning, 1064;
VI. Superseded changes of the same order, 100;
VII. Mistaken changes of the same order, 588.
^ See page 28 fif. '
70 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
It is perhaps unnecessary to say that our confidence in our own dis-
tinction between intentional and unintentional changes is at its low-
est ebb in groups III, V, VI and VII.
Since, as has been said, punctuation changes which alter the sense
are of the same order as the intentional emendations considered in
other sections of our study, they are similarly classified, though the
category "Changes which Restore the Reading of an Earlier Text"
does not occur, and we have not attempted to distinguish "intelli-
gible" from "mistaken and arbitrary."^
The first group, which is clearly the most important, we reprint
in full (pp. 147 ff., 259 ff., 330 ff.). It consists of changes, in the
punctuation alone, which correctly alter the sense of a passage, or
bring out the correct meaning in cases of ambiguity. A typical in-
stance is found at Antony v.ii.55-g, where Fi reads
Shall they hoyft me vp,
And fhew me to the fhowting Varlotarie
Of cenfuring Rome? Rather a ditch in Egypt.
Be gentle graue vnto me, rather on Nylus mudde
Lay me ftarke-nak'd,
Guided by the repetition of the construction in lines 58-62, the editor
of F2 perceived that — although Cleopatra might reasonably say
"Rather a ditch in Egypt" (than be exhibited in Rome), and then
adjure her grave, "be gentle unto me" — the period after "Egypt"
^ The temptation to do so in three cases is very great. In Tempesl ni.iii.36-9,
I cannot too much mufe
Such fhapes, fuch gefture, and fuch found e.xpreffing
(Although they want the ufe of tongue) a kind
Of excellent dumb difcourfe.
Fi adds a comma after mufe, and rhis reading is followed by the majority of eight-
eenth- and nineteenth-century editors. The authority of the Cambridge and most
recent editions is, however, against the comma, and the New E?iglish Dictionary
quotes the passage under muse, v. trans. Similarly, most modern editions reject the
comma inserted by F3 and sundry later editors after "round" in Much Ado iii.iv. 19:
"fet with pearles, downe fleeves, fide fleeves, and skirts, round underborn with a
blewifh tinfel."
In the case of Fj: Tempest v.i.23, we refrain only because the "emendation" on the
Fi reading is the omission of a comma at the end of a line — the easiest, we suppose,
of typographical errors. The passage in Fi is as follows:
fhall not my felfe,
One of their kinde, that rellifh all as fharpely,
Paffion as they, be kindlier mou'd then thou art?
Here passion is presumably a verb, meaning "feel," "be moved." In F2, however, the
comma after fharpely is missing, so that the sense becomes "relish passion all as
sharply as they." Rowe, Halliwell, White, Dyce, Rolfe and the New Cambridge
("That relish, all as sharply, | Passion as they") so read. All other editions, including
the Cambridge, prefer the F: pointing. The New English Dictionary quotes under pas-
sion, v., the reading of Fi and under relish, v., that of F2!
EDITORIAL CHANGES AFFECTING PUNCTUATION 71
was in fact an error. He therefore substituted a comma, creating a
new reading which has been adopted by all subsequent editors.^ We
feel that the number of such emendations (173) is surprisingly large,
considering the aforementioned attitude of many scholars.^ About
one in 16 of all the intentional changes in punctuation is an emenda-
tion in thought adopted in essence by all modern editors. Surely this
may be allowed to add one more word for the acuteness of the seven-
teenth-century editor in deahng with the passages which fell under
his hurrying eye.
The phrase "adopted in essence" needs a word of explanation. It
was of course necessary to amplify the meaning of the category
"adopted" to allow for the difference between Elizabethan usage and
our own. Punctuation, so far as it affects the thought, as opposed to
the rhetoric, of a passage, is here considered only as a matter of
mental pause. An editor who wishes to emend by punctuation may
add, omit, or relocate a pause, or substitute for the pause in his text
a longer or shorter one. We have been content to regard the comma
as marking a brief mental interval, the semicolon, colon, dash, pe-
riod, point of interrogation, and point of exclamation a longer one.
When the folio editor established the accepted meaning by using
these points, so understood, we regard the change as adopted,
whether or not the exact pointing preferred by the modern editors
is employed.
Group II consists of intelligent and judicious emendations super-
seded by better approved conjectures. These are somewhat inter-
esting because, although the total is small (22), a number of them in-
volve on the editors' part recognition of cruxes which have caused
* Usually without even the comma. See definition of "adopted," below.
° In deference to this attitude, however, we have excluded 45 additional changes
from this category because they depend on the omission of a single mark, and may
therefore have been the fortunate result of the printers' carelessness. A list of the
references is given here so that the reader may examine the passages and, if he wishes,
attribute the omissions to the workings of benign coincidence. It is interesting in this
connection, however, to note that the unique page of Fi showing the reviser's cor-
rections has a clear case of the deliberate omission of a point. The passages excluded
are:
Fj: Tempest i.ii.471; Merry Wives i.iv.i, ni.iv.s.d., iv.iv.42-3, iv.iv.6o; Labour's
i.i.246; Dream 1.1.54, n1.ii.364; All's Well n.i.s.d.; Romeo i.iii.59; Hamlet i.iii.39; Lear
1n.vii.17; Othello 1v.iii.17; Antony 1n.xiii.58; Cymbeline v.v.145.
F3: Gentlemen iu.1.24.^; Merry Wives i.iv.39, ii.iii.6; Labour' s\.n.6iT, Shrew i.i. 33;
All's Well i.iii.180; Winter's Tale v.ii.86-7; Richard II v.iii.ii8; 2 Henry VI i.iii.49;
Henry VIII iii.i.164; Coriolanus 11.iii.246; Titus n.i.81, 11.iv.55; Macbeth in.v.33;
Lear 111.vi.77; Cymbeline ii.ii.i.
F4: Merry Wives 11.ii.184, n1.iii.151; Labour's iv.i.76; All's Well i.i.209, 11.iii.24;
John I.i. 8; 2 Henry VI in. i. 333-4; j Henry VI v.iv.i6; Coriolanus iii.i.44, v.vi.5;
Romeo ii.vi.8; Macbeth 11.ii.63; Antony 1v.xiv.58; Cymbeline i.vi.181.
72 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
difficulty to later interpreters. It is curious, too, that there are but
five in the comedies, all of them in F3, and one in the histories. The
references are given for the convenience of any reader who may care
to examine the passages.^" Group III consists of mistaken changes of
the same sort as in Groups I and II, many of which, as has been said,
may well be unintentional, though the group does not seem unduly
large.
To Group IV we have assigned the numerous changes, 686 in all,
which seem to us beyond the scope of the compositor because, though
they do not alter the meaning, they help to free it from obscurity or
possible ambiguity. Such clarifications range from matters of con-
vention to alterations which approach in difficulty those in Group I.
Both in number and quality they reenforce the conviction elsewhere
expressed that — with the usual allowances for their lack of con-
sistency and thoroughness — the folio editors could, and did, follow
the thought of the text with alertness and intelligence. It has seemed
unnecessary to reprint the clarifications in full ; the following classified
illustrations from representative texts epitomize the mental processes
involved.
(a) The most frequent sort of clarification is the supplying of a
question mark in questions punctuated as statements or as parts of
sentences. Whether or not the reason for the extreme frequency of
this error was paucity of type, as the Cambridge editors suspect,"
the mistakes are not always obvious. Best among the corrections are
several which detect questions obscured by their length:
F3: What fhall you aske of me that I'le deny,
That (honour fav'd) may upon asking give.
F4: What fhall you ask of me that I'le deny,
That (honour fav'd) may upon asking give?
Tiuelfth Night iii.iv. 202
Fi: What if it tempt you toward the Floud my Lord?
Or to the dreadfull Sonnet of the Cliffe,
That beetles o're his bafe into the Sea,
And there affumes fome other horrible forme,
Which might depriue your Soueraignty of Reafon,
And draw j^ou into madneffe thinke of it?
Fj: What if it tempt you toward the Floud my Lord?
^^ Fj: Caesar n.i.83; Lear n.iv.182; Othello i.iii. 239-40.
Fj: Gentlemen in. i. 325, iv.i.49; Shrew iv.iii.88; All's Well 11.ii.57, 1v.iii.94; Troilus
iv.i.46; Coriolanus n.ii.6s; Romeo ni.i.105; Hamlet n1.ii.336; Cymbeline n1.vi.89.
F4: Richard III i.iv.SS; Troilus i.ii.286, m.ii.6i, ni.iii. 130-2; Romeo i.iv.42, i.iv.44;
Lear 1v.vi.52; Othello iv.ii.8i; Cymbeli7ie i.iv.1-2.
" See Cambridge edition, vol. 2, p. 448, Note III.
EDITORIAL CHANGES AFFECTING PUNCTUx\TION 73
Or to the dreadful! Sonnet of the Cliffe,
That beetles o're his bafe into the Sea,
And there affumes fome other horrible forme,
Which might deprive your Soveraignty of Reafon,
And draw you into madneffe? thinke of it.
Hamlet i.iv.74
The question mark for period also occurs, though less frequently,
showing that the printers had enough of these points to put them oc-
casionally where they do not belong.
(b) Perhaps the cleverest clarifications are those which detect an
interrupted speech :
Fi: halfe Count lokns melancholy in Sig-|nior Benedicks face.
F2: halfe Count lohns melancholy in Sig-|nior Benedickes face — .
Much Ado ii.i.i2
F3: Now out of this.
Laer. Why out of this, my Lord?
F4: Now out of this —
Laer. Why out of this, my Lord?
Hamlet iv.vii.io6
(c) Almost equally discerning and far more numerous are the clari-
fications which insert or make heavier a stop before a clause which
changes the direction of the thought:
Fi: hee is of . . . | . . . confirm'd honefty, I will | teach you how to
humour your cofin,
F2: he is of ... I .. . confirm'd honefty. I will | teach you how to
humour your cofin,
Much Ado II. i. 343
F3: Serve God, love me, and mend, there will I leave | you too,
F4: Serve God, love me, and mend; there will I leave | you too.
Much Ado v.ii.80
Fi: King. Who fhall ftay you?
Laer. My Will, not all the world,
And for my meanes, He husband them fo well,
F2: King Who fhall ftay you?
Laer My Will, not all the world.
And for my meanes, He husband them fo well,
Hamlet iv.v.134
especially in a compound sentence consisting of a declarative fol-
lowed by an imperative clause or by a question :
F2: the body of your [ difcourfe is fometime guarded with fragments,
and the | guardes are but flightly bafted on neither, ere you flout | old ends any
further, examine your confcience.
74 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
F3: the body of your | difcourfe is fometlme guarded with fragments,
and the | guards are but flightly bafted on neither: e're you fiout | old ends any
further, examine your confcience,
Much Ado i.i.250
F3: whatfoever comes athwart his affection, ranges evenly | with
mine, how canft thou crofs this marriage?
F4: whatfoever comes athwart his affection, ranges evenly | with
mine ; how canft thou crofs this marriage?
Much Ado ii.ii.y
F3: either I muft fhort-|ly hear from him, or I will fubfcribe him a
coward, and | I pray thee now tell me, for which of my bad parts didft | thou firft
fall in lo%'e with me?
F4: either I muft fhortly | hear from him, or I will fubfcribe him a
coward; and I | pray thee now tell me, for which of my bad parts didft | thou firft
fall in love with me?
Much Ado v.ii.51
Fj: Ham. I humbly thanke you fir, doft know this waterfiy?
F3: Ham. I humbly thank you, fir; doft know this waterfiy?
Hamlet v.ii.82-3
The reverse of this, the lightening of a stop to unite ideas wrongly
separated, also occurs:
F3: That breathes upon a bank of Violets;
Stealing, and giving Odour.
F4: That breathes upon a bank of Violets,
Stealing, and giving Odour.
Twelfth Night l.i.6
Fi: Which done, fhe tooke the Fruites of my Aduice,
And he repulfed. A fhort Tale to make.
Fell into a Sadneffe, then into a Faft,
F2: Which done, fhe tooke the fruites of my Advice,
And he repulfed, a fhort Tale to make,
Fell into a Sadneffe, then into a Faft,
Hamlet 11.ii.14s
shading off of course into rectifications, which anyone might have
made, of obvious misprints.
(d) Other clarifications made with considerable frequency, espe-
cially in F3 and F4, are the setting off by commas of nouns in direct
address and appositives, the addition of the apostrophe in contrac-
tions, and of the hyphen in compound words, and the relocation of
misplaced apostrophes. A number of unclassifiable corrections^^
which show unusual vigilance also occur.
" Examples are:
F,: Who i/ero?
F,: Who I Hero}
Much Ado n1.ii.93
CONTRIBUTION TO THE STANDARD TEXT 75
Though trivial in their effect upon the text, the last three groups,
consisting of (V) acceptable omissions, additions, relocations, and
substitutions made for stylistic reasons, without alterations of the
meaning, (VI) superseded and (VII) mistaken changes of the same
order, lead to several observations of incidental interest concerning
the punctuation of the folios and the editors' handling of it. The sub-
stitutions frequently represent a sort of timid step in the right direc-
tion which does not go far enough to alter the sense, though it may
leave it ambiguous. Such timidity is particularly noticeable where the
accepted sense requires the omission of a mark. The folio editors seem
reluctant to delete punctuation entirely, frequently being content
merely to lighten it,^^ or to relocate it.''* Again, in dealing with a
complicated reading, the folio editors usually exhibit that familiar
combination of carelessness and care of which Mr. Pollard has ac-
cused them. When two or more changes in the pointing are required
they usually make but one, though often the most important.'^ The
material has also brought to our notice the tendency on the part of
both editor and printer to make a rapidly increasing number of
mistakes as they near the end of their task.
§8
Contribution to the Standard Text
The data discussed above, besides demonstrating beyond question
that some editorial care was expended on the later folios, will enable
the reader to form an estimate of its competence. They throw no
light, however, on a closely related question which must also be
answered in assessing the value of the seventeenth-century editors'
Fi: And mine that I was proud on mine fo much,
Fj: And mine that I was proud on, mine fo much,
Much Ado IV. i. 137
Fi: Bea. No truly: not although vntill laft night,
F2: Bea. No truly: not, although vntill laft night,
Much Ado i\.i.i^?>
F2: Give me fome Muficke; Now good morrow friends
Now good Cefario,
F3: Give me fome Mufick; Now good morrow friends;
Now good Cefario,
Twelfth Night 11. iv. i
" See for example Titus i.i.419, F1F2, Macbeth iv.i.83, F1F2.
" See for example Errors ii.i.115, FiF2.
1* See for example Antony ii.i.43, F3F4.
76 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
labors: of what errors of omission were they guilty? We have shown
that they made more than three thousand corrections in the text of
Fi, nearly half of them necessary and desirable,^ but how many cor-
ruptions, errors, and inconsistencies did they pass over without no-
tice? To treat such oversights on the same scale as editorial altera-
tions would be a task from which we ask to be excused. Even if it
were done, it would add little to the history of the text of the plays;
the work of detecting errors and corruptions in it is a labor which,
after three hundred years, is still unfinished. Nobody would expect
Shakespeare's earliest editors to succeed in an undertaking which
their more famous eighteenth-century successors, taken together,
did not bring to an end.
To suggest, however, an answer to the question posed above, we
have compared the Fi text of a few passages from the plays with the
text of the Cambridge edition- and noted all significant divergences
in the latter. These divergences we have assigned to the editors
responsible for them, grouping in parallel columns those made by the
editors of the later folios, those made by the earlier eighteenth-
century editors, and those made by all subsequent editors. The re-
sults of this comparison may be seen in the lists printed below. The
passages examined were chosen almost at random from plays for
which Fi supplies the only authoritative text. Our lists do not include
changes in the division of scenes, immaterial alterations in stage-
directions, changes in punctuation which do not affect the meaning
(such as the insertion of an apostrophe in possessives or of a hyphen
in compounds or the substitution of a semicolon for a comma or an
exclamation point for a question mark or the omission of a super-
fluous stop). They do not include the restoration of a reading of Fi
(accidentally altered in a later folio) by F3, F4, or an eighteenth-
century editor. Variants printed in brackets are such as we call
superseded changes.
^ These figures are based on the tables on pp. 34, 52, 60. These tables, however, do
not include hundreds of improvements of the punctuation and of corrections of ob-
vious typographical errors which must surely be described as necessary and desirable
changes too. If we counted them, we could say that more than half of the deliberate
changes made in the later folios are necessary and desirable.
2 A conservative text. The number of readings attributable to the folios might
have been increased by using a text like the Oxford with a pronounced leaning
towards folio readings.
CONTRIBUTION TO THE STANDARD TEXT
77
-
Significant Departures from the Text of Fi in the
Cambridge Edition Derived from
Fi
F2, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
[As You Like It ii.i.]
5. Heere feele we not the pen-
altie of Adam,
we but (Theo-
bald)
1 8. Amien. I would not change
it, happy is your Grace
I would not
change it.
Ami. Happy
is your
Grace,
(Upton)
48-9. giuing thy Turn of more
To that which had too muft :
too much : (F2)
50. Left and abandoned of his
veluet friend;
friends; (Rowe)
59. The body of Countrie,
Citie, Court,
of the country
(F2)
[ii.iii.]
10. Know you not Mafter, to
feeme kinde of men,
some kind (F2)
16. Why, what's the matter?
Orl. Why,
what's the
matter? (F2)
29. Ad. Why whether Adam
Orl. Why,
whither,
Adam (F2)
71. From feauentie yeeres, till
now almoft fourefcore
seventeen years
(Rowe)
[ii.iv.]
I. 0 lupiter, how merry are my
fpirits?
how weary
(Theobald)
30. Oh thou didft then neuer
loue fo hartily,
ne'er (Rowe)
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Fi
F2, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
41. Alas poore Shepheard
fearching of they would,
[of their wound]
(F2)
of thy wound
(Rowe)
46. batler
batlet (F2)
64. good euen to your friend.
to you, friend
(F2)
76. And little wreakes to finde
recks (Hanmer)
the way to heauen
89-90. And we will mend thy
wages:
I like this place, and will-
ingly could
Wafte my time in it.
And. ..place,!
And. ..it
(Capell)
[ii.v.]
1 1-3. three lines of verse
prose (Pope)
30-3. four lines of verse
prose (Pope)
45. Amy.
laq. (F.,)
46-7. // it do come to paffe,
that any man turne A/fe:
If it do come to
pass
That any man
turn ass, (F3)
[il.vi.]
1-3. three lines of verse
prose (Pope)
4-16. 17 lines of verse
prose (Pope)
[11. vii.)
54-5. Doth very foolifhly, al-
though he fmart
Seeme fenfeleffe of the bob.
Not to seem
senseless of
the bob.
(Theobald)
64. Moft mifcheeuous foule fin,
in chiding fin:
in chiding sin
(F2)
83. There then, how then, what
then,
There then ; how
then? what
then?
(Theobald)
CONTRIBUTION TO THE STANDARD TEXT
79
Fi
F2, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
87. Vnclaim'd of any. man But
Unclaim'd of
who come here?
any man.
But who
^
comes here?
(F2)
loo-i. two lines of verse
prose (Capell)
102-3. What would you haue?
Your gentleneffe fhall force,
more then your force
Moue vs to gentleneffe.
What. ..force.
More. ..gentle-
ness. (Pope)
135. [no stage-direction]
Exit. (Rowe)
167-8. Welcome: fet downe
your venerable bur | then,
and let him feede.
Welcome... bur-
den, 1 And...
feed. (Rowe)
175-8. two lines of verse
four lines (Pope)
182. The heigh ho, the holly,
Then, heigh-ho,
(Rowe)
184-9. four lines of verse
six lines (Pope)
198. Thou art right welcome,
as thy mafters is:
as thy master
(F2)
[Coriolanus i.i.]
6 [& passim]. Caius Martins
Marcius (Theo-
bald)
15. what Authority furfets one
on (F3)
Z3- All.
Sec. Cit.
(Malone)
45 [& passim], a'th City
O'th" (F4)
55 [& passim]. 2 Cit.
First Cit.
(Capell)
60-1. Why Mafters, my good
Friends, mine honeft
Neighbours, will you vndo
your felues.?
Why. ..honest
Neighbours, |
Will
(Theobald)
80
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Fi
F2, Fs, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
63-7. I tell you Friends, moft
charitable care
Haue the Patricians of you
for your wants.
Your fuffering in this dearth,
wants, (F3)
...you. For...
(Johnson)
you may as well
Strike at the Heauen with
your ftaues, as lift them
Againft the Roman State,
77-8. Care for vs.? True in-
deed, they nere car'd for vs
yet.
indeed!
(Theobald)
89-90. I will venture
To fcale't a little more.
stale (Theobald)
91-3. irregular verse
prose
(Capell)
loi. And mutually participate,
did minifter
And,
(Malone)
103. Of the whole body, the
Belly anfwer'd.
[body;] (F3)
[anfwer'd] (F4)
body. (Rowe)
answer'd —
(Rowe)
104. what anfwer made the
Belly.
belly? (Rowe)
105. Sir, I fhall tell you with
a kinde of Smile,
you. — With
(Theobald)
108. taintingly
tantingly (F2)
tauntingly (F4)
112. Your Bellies anfwer: What
What! (Theo-
bald)
answer?
(Collier)
1 1 7-8. What then? Foreme,
this Fellow fpeakes.
What then? What then?
[For me,] (F4)
What then?
'Fore me
(Theobald)
120. Who is the finke a th'
body.
body — (Rowe)
125. Noteme this good Friend;
this, (F4)
CONTRIBUTION TO THE STANDARD TEXT
Fi
F2, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
127. Not ralh like his Accufers,
and thus anfwered.
answer'd
(Rowe)
134. to th'feate o'th'Braine,
brain; (Theo-
bald)
139. (You my good Friends,
this fayes the Belly) marke
me.
You, my good
friends,' — this
says the belly,
mark me, —
(Rowe)
143. From me do backe receiue
the Flowre of all,
flour
(Knight)
145. It was an anfwer, how ap-
ply you this?
answer — (Rowe)
answer:
(Capell)
148. difgeft
digest (Rowe)
152-3. What do you thinke?
You, the great Toe of this
Affembly?
think, (Dyce)
156. Of this moft wife Rebel-
lion, thou goeft formoft:
go'st (Capell)
162, 164. rogues. ..Scabs.
[rogues?] (F3)
rogues, ...Scabs?
(Theobald)
168-71. Hethat truftstoyou,
Where he fhould finde you
Lyons, findes you Hares:
Where Foxes, Geefe you are:
No furer, no.
Then is the coale of fire
vpon the Ice,
geese: you are
no (Theobald)
182. vilde
vile (F4)
212. Shooting their Emulation.
Shouting (Pope)
216. The rabble fhould haue
firft vnroo'ft the City
unroof'd (Theo-
bald)
222 [& passim]. Volcies
[VolfciesJ (F4)
Volsces
(Collier)
82
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Fi
F2, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
224. See our beft Elders
See, (Rowe)
225 [& elsewhere]. Enter. ..A?i-
nius Brutus Cominisn
Junius Brutus,
(F4) Conii-
nius (Fo)
237 [& elsewhere]. Titus Lucius
Lartius (Rowe)
238. Tullus face
[Tullus' s] {¥,)
Tullus' (Pope)
243-5. prose
verse (Pope)
249. Manet
Manent (F2)
252. people.
people (F3)
253. Mark'd you his lip and
eyes.
eyes? (Rowe)
256-7. The prefent Warres de-
him! (Hanmer)
uoure him, he is growne
Too proud to be fo valiant.
257-61. prose
verse (Pope)
270-1. Come: halfe all Comi-
nius Honors are to Martins
Come: | Half
(Theobald)
271. Co7ninius
[Coniinius's]
(F4)
Cominius'
(Pope)
[i.ii.]
I [& passim]. Coriolus
Corioli (Pope)
4. What euer haue bin thought
one in this State
on (F3)
6. circumuention:
circumvention?
(F3)
15-6. Thefe three leade on this
Preparation
Whether 'tis bent:
Whither (Fs)
27-9. Let vs alone to guard
Corioles
Coriolus:. ..he-
love's, {¥i)
CONTRIBUTION TO THE STANDARD TEXT
83
Fi
F2, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
If they Tet downe before's:
for the remoue
Bring vp your Army:
[i.iii.]
36. Like to a Harueft man,
thats (F2)
that's (Rowe)
that task'd to mowe
42-4. Then Hectors forhead,
[fwordes Con-
sword, con-
when it fpit forth blood
tending:]
temning.
At Grecian fword. Conten-
(F.,)
(Leo)
ning, tell Valeria
We are fit to bid her wel-
come.
52. fpotte
spot, (Theobald)
57. A my word
0' (Theobald)
58. A my troth
0' (Theobald)
a Wenfday
0' (Rowe)
83. yearne
yarn (F3)
VliJJes
[ Ulyffes's]
(F4)
Ulysses'
(Capell)
84. Athica
Ithaca (F3)
94. Indeed Madam.
Madam? (F3)
104-10. irregular verse
prose (Pope)
104-5. Let her alone Ladie, as
lady; (Pope)
fhe is now:
now, (F4)
She will but difeafe our bet-
ter mirth.
108. out a doore
0' (Theobald)
[i.iv.]
I. Yonder comes Newes:
one line (Pope)
A Wager they haue met.
13 [& elsewhere]. Auffidious
Aufidius (F4)
84
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
F,
Fo, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
1 6-8. Wee'l breake our Walles
Rather then they fhall
pound vs vp our Gates,
Which yet feeme fhut, we
haue but pin'd with
Rufhes,
25. With hearts more proofe
then Shields.
Aduance braue Titus,
31-2. You Shames of Rome:
you Heard of Byles and
Plagues
Plaifter you o're,
41-2. If you'l ftand faft, wee'l
beate them to their Wiues,
As they vs to our Trenches
followes.
44. 'Tis for the followers For-
tune, widens them,
45. Enter the Gati.
55. And when it bowes, ftand'i't
vp:
55-7. Thou art left Martins,
A Carbuncle intire: as big as
thou art
Weare not fo rich a lewell.
57-8. Thou was't a Souldier
Euen to Caliies wifh,
[I.V.]
6-8. Irons of a Doit, Dublets
that Hangmen would
Bury with thofe that wore
them. Thefe bafe flaues,
Ere yet the fight be done,
packe vp,
9. And harke, what noyfe the
Generall makes: To him
[up,] (Fa)
up; (F4)
followed (F2)
followers, For-
tune (Fo)
Gates (F2)
entire,. ..were
not (F3)
them, (F3)
[him,] (F3)
one line (Pope)
of — (John-
son)
stands (Rowe)
Cato's (Theo-
bald)
[him;] (Pope)
him!
(Knight)
CONTRIBUTION TO THE STANDARD TEXT
85
Fi
F2, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
19-20. Then dangerous to me:
To Auffidious thus, I will ap-
pear and fight.
Then. ..thus |
I (Capell)
[i.vi.]
4. we haue ftrooke
struck (F4)
6-7. The Roman Gods,
Leade their fuccerfes, as we
Ye Roman
(Hanmer)
wifh our owne,
13. Though thou fpeakeft
truth,
speak'st (Rowe)
21. Whofe yonder,
Who's (Rowe)
26. Martius Tongue
[Martius' s] {Yi)
Martins' (Pope)
29-31. Oh let me clip ye
In Armes as found, as when
I woo'd in heart;
As merry, as when our Nup-
tiall day was done.
woo'd; in heart
(Theobald)
32-3. Flower of Warriors, how
is't with Titus Lartitis?
warriors, | How
(Pope)
46. Will the time ferue to tell,
I do not thinke:
tell? (F3)
48-50. Martius, we haue at dif-
aduantage fought,
And did retyre to win our
purpofe.
Marcius, | We
...did 1 Re-
tire
(Capell)
53. i'th Vaward are the An-
tients
Antiates (Pope)
57-9. By th'Blood we haue
fhed together,
By th'Vowes we haue made
To endure Friends, that you
directly fet me
Againft Affidious, and his
Antiats,
By. ..vows 1 We
...directly
Set. ..Anti-
ates; 1 (Pope)
69-70. if any feare
86
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
F,
Fo, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
Lefren his perfon, then an
Lesser (F3)
ill report:
81-2. (Though thankes to all)
Though. ..rest|
niuft I felect from all:
Shall...
The reft fhall beare the
fight, 1
bufineffe in Tome other
(Boswell)
fight
[i.viii.]
6-7. If I flye Marlins, hollow
Marcius, |
me like a Hare.
Holloa
(Theobald)
[l.ix.]
13-4. My Mother, who ha's a
my mother, |
Charter to extoll her Bloud,
Who.. .blood 1
(Pope)
15-7. When fhe do's prayfe me,
When. ..done |
grieues me:
As. ..induc'd |
I haue done as you haue
As. ..country: |
done, that's what I can,
(Hanmer)
Induc'd as you haue beene,
that's for my Countrey:
19-22. You fhall not be the
be 1 The... know ]
Graue of your deferuing.
The. ..conceal-
Rome muft know the value
ment 1 Worse
of her owne:
...traduce-
'Twere a Concealement
ment, |
worfe then a Theft,
(Pope)
No leffe then a Traduce-
ment.
31-4. of all the Horfes,
Whereof we haue ta'ne good,
and good ftore of all,
good store, of all
The Treafure in this field
(Rowe)
atchieued, and Citie,
We render you the Tenth,
35-6. Before the common dif-
distribution, at |
tribution,
Your (Theo-
At your onely choyfe.
bald)
CONTRIBUTION TO THE STANDARD TEXT
Fi
F2, F3, F,
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
44. Made all of falfe-fac'd
foothing
false-faced
(Cam-
bridge)
46. Let him be made an Ouer-
ture for th' Warres:
coverture
(Steevens)
47. No more I fay,
more, (F4)
50-1. You fhoot me forth in
acclamations hyperbolicall.
shout (F4)
You... forth 1
In. ..hyper-
bolical
(Knight)
53. In prayfes, fawc'ft with
Lyes.
sauced (Cam-
bridge)
65. Marcus Caius
[Martius Caius]
(F4)
Caius Martius
(Rowe)
65-6. Marcus Caius Coriola-
nus. Beare th'addition
Nobly euer?
Caius. ..Bear |
The
(Steevens)
74. Where ere we doe repofe
vs, we will write
Where, (F4)
79-81. The Gods begin to
mocke me:
I that now refus'd moft
Princely gifts,
Am bound to begge of my
Lord General!.
The... now | Re-
fus'd...beg 1
Of (Hanmer)
[I.X.]
13-5. For where
I thought to crufh him in an
equall Force,
True Sword to Sword: He
potche at him fome way.
sword, I'll
(Pope)
17. my valors poifon'd
valor's (F3)
[Antony and Cleopatra i.i.]
I. this dotage of our Generals
general's (Ca-
pell)
88
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Fi
F2, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
4. Haue glow'd like plated
Mars:
Now bend, now turne
one line (Rowe)
18. Grates me, the fumme.
me: (Capell)
32. The Meffengers.
messengers!
(Collier)
34. Of the raing'd Empire fall:
Heere is my fpace.
ranged (Cam-
bridge)
39. One paine of punifhment.
On (F2)
42-3. He feeme the Foole I am
not. Anthony will be him-
felfe.
I'll. ..Antony |
Will... him-
self. (Pope)
50-1. who euery paflion fully
ftriues
To make it felfe (in Thee)
faire, and admir'd.
whose (F2)
52-3. No Meffenger but thine,
and all alone, to night
Wee'l wander through the
ftreets, and note
No. ..alone] To-
night...note
(Rowe)
59-62. prose
[verse (Pope)]
verse (John-
son)
[i.ii.]
3-5. Oh that I knewe this Hus-
band, which you fay, muft
change his Homes with Gar-
lands.
charge (Theo-
bald)
6. Soothfayer.
Soothsayer!
(Hanmer)
9-10. prose
verse (Theo-
bald)
II. [no stage-direction]
Enter Eno-
barbus
(Capell)
32-3. prose
verse (Capell)
CONTRIBUTION TO THE STANDARD TEXT
89
Fi
F2, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
34-5. verse
prose (Capell)
36-7. prose
\-erse (Rowe)
37. & foretell euery wifh.
fertile
(Theobald)
43-4. Mine, and moft of our
Fortunes to night, fhall be
drunke to bed.
be— (Capell)
52. But how, but how, giue me
particulars.
how? give
(Theobald)
58-9. Alexas. Come, his Fortune,
Alexas, — come,
his fortune,
(Theobald)
75. Saue you, my Lord.
Saw you my
lord? (F2)
80. A Romane thought hath
ftrooke him.
Enobarbus?
one line (Rowe)
82. Alexias
Alexas (F.)
83. Heere at your feruice.
My Lord approaches.
prose (Rowe)
84. We will not looke vpon
him:
Go with vs.
one line (Rowe)
85. Fuluia thy Wife,
Firft came into the Field.
one line (Rowe)
87-8. I; but foone that Warre
had end,
And the times ftate
Ay. 1 But...
state
(Johnson)
91. Well, what worft.
worst? (Rowe)
96-101. Labienus (this is ft iff e-
newes)
Labienus — |
Th is... force 1
90
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Fi
F2, F3, ¥,
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
Hath with his Parthian Force
Extended Afia: from Eu-
phrates his conquering
Banner fhooke, from Syria to
Lydia,
And to Ionia, vvhilTt- —
Extended...
Euphrates |
His. ..Syria
|To Ionia,
1 Whilst—
(Steevens)
loi. thou would'ft fay.
say, — (Theo-
bald)
102-3. Speake to me home,
Mince not the generall
tongue, name
Cleopatra as fhe is call'd in
Rome:
Speak.. .tongue:]
Name...
Rome; (Rowe)
107. When our quicke windes
lye ftili.
minds (W^arbur-
ton)
no. Eyiter another MeJJenger.
omit (Rowe)
no, III, 116. Scicion
Sicyon (Pope)
III. The man from Scicion,
Is there fuch an one?
one line (Rowe)
115. 3. MeJ.
Sec. Mess.
(Rowe)
1 1 6-8. In Scicion, her length of
fickneffe.
With what elfe more ferious,
Importeth thee to know, this
beares.
In Sicyon :| Her
...serious]
Importeth...
bears. (Pope)
118. [no stage-direction]
Gives a letter.
(Johnson)
118. [no stage-direction]
Exit Sec. Mes-
senger. (Theo-
bald)
1 20. What our contempts doth
often hurle from vs,
contempts do
(FO
134. Vnder a compelling an oc-
cafion
Under a com-
pelling occa-
sion (Rowe)
CONTRIBUTION TO THE STANDARD TEXT
91
Fi
F2, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
152. Sir.
Sir? (Capell)
1 70. No more light Anlweres :
Let our Officers
one line (Row"e)
173. And get her loue to part.
leave to part
(Pope)
177-8. Sextus Pompeitis
Haue giuen the dare to
Caejar,
Hath (F2)
187. Which like the Courfers
heire, hath yet but life,
And not a Serpents poyfon.
courser's hair
(Rowe)
188-90. Say our pleafure,
To fuch whofe places vnder
vs, require
Our quicke remoue from
place is under
us, requires
(F2)
hence.
[i.iii.l
2. See where he is,
Whofe with him, what he
does:
one line (Rowe)
2. Whole with him,
Who's (Fo)
5. [no stage-direction]
Exit Alexas.
(Capell)
20. What fayes the married
woman you may goe?
woman?. ..go;
(Rowe)
29. Who haue beene falfe to
Fuluial
Riotous madneffe,
one line (Rowe)
33. But bid farewell, and goe:
When you fued ftaying,
one line (Rowe)
71. As thou affects.
affect 'st (F2)
80. You'l heat my blood no
more?
blood; no more.
(Rowe)
92
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Fi
F2, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
82. Now by Sword.
by my sword
(F2)
101-2. Let vs go.
Let. ..Come; |
Come: Our reparation fo
Our.. .flies,
abides and flies,
(Pope)
103. That thou reciding heere,
goest {¥i)
goes yet with mee;
[l.Iv.]_
3. It is not Caejars Naturall
vice, to hate
Our great
(Heath)
One great Competitor.
6. Ptolomy
Ptolemy (Theo-
bald)
7-9. More Womanly then he.
More...or|
Hardly gaue audience
Or vouchfafe to thinke he
Vouchsafed
...there]
had Partners. You
A man...
Shall finde there a man,
faults (Ca-
who is th'abftracts of all
pell)
faults,
8. Or vouchfafe to thinke
[did vouchfafe
Vouchsaf'd
(F2)]
(Johnson)
9. th'abftracts of all faults.
abstract (F2)
lo-i. I muft not thinke
I...are|
There are, euils enow to
Evils...
darken all his goodneffe:
goodness:
(Capell)
II. There are, euils
There are evils
(F4)
17. Ptolomy
Ptolemy (F3)
24. No way excufe his foyles,
soils (Malone)
30-1. 'tis to be chid:
As we rate Boyes,
chid (Capell)
CONTRIBUTION TO THE STANDARD TEXT
93
Fi
Fo, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
43. And the ebb'd man,
Ne're lou'd, till ne're
worth loue,
one line (Rowe)
44. Comes fear'd, by being
lack'd.
dear'd (Theo-
bald)
46. Goes too, and backe, lack-
ing the varrying tyde
lacquying
(Theobald)
48. Meftacrates and Menas fam-
ous Pyrates
Makes the Sea ferue them,
Menecrates...
Make (F4)
56. Leaue thy lafciuious V'af-
failes.
wassails (Pope)
56-7. When thou once
Was beaten from Medena,
[Wert (F,)]
Wast (Steev-
ens)
Modena
(Johnson)
58. Hirjius, and Pan/a Con-
fuls,
Hirtius (F4)
Pansa (F.)
66. The barkes of Trees thou
brows'd.
browsedst (F2)
75. Affemble me immediate
counfell,
we (F.3)
79-80. Till which encounter, it
is my buf ines too. Farwell.
Till. ..encoun-
ter, 1 It...
Farewell.
(Pope)
83-4. Doubt not fir, I knew it
for my Bond.
Doubt...
sir;|I...
bond. (Ca-
pell)
[I.V.] - •
3-4. Ha, ha, giue me to drinke
Mandragoru.
/
Ha, ha !| Give
...man-
dragora.
(Steevens)
94
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Fi
F2, F3, F4
Rowe, Pope,
Theobald, Han-
mer, Warburton
Capell and
later editors
4. Mandragoru
[Mandragoras
(F2)]
mandragora
(Johnson)
40-1. He kift the laft of many
doubled kiffes
This Orient Pearle.
kiss'd — the...
kisses —
(Theobald)
49-50. Who neigh 'd fo hye,
that what I would haue
Tpoke,
Was beaftly dumbe by him.
dumb'd (Theo-
bald)
60-1. The violence of either
thee becomes,
So do's it no mans elfe.
man (F2)
63-7. prose
verse (Rowe)
73-5. My Sallad dayes,
When I was greene in iudge-
ment, cold in blood,
To fay, as I faide then.
judgement:
cold (\'ar.
•78)
77-8. he fhall haue euery day a
feuerall greeting, or He
vnpeo- 1 pie Egypt.
He. ..greet-
ing,! Or...
Egypt.
(Johnson)
As a rough measure of the respective contributions of the seven-
teenth-century editors and of their successors to a representative
present-day text, these Hsts show plainly that the former overlooked
many errors and corruptions to be recognized and emended in later
times. This is just what anybody would have expected, and it is
likewise true of any eighteenth-century edition up to Capell's at
least. The totals of accepted corrections of all kinds, in final form, in
the three columns above give the seventeenth-century editors 63,
which is slightly over half as many as stand to the credit of Rowe,
Pope, Theobald, Hanmer and Warburton together (122), and sub-
stantially more than were made by Capell and all later editors (52).
If our samples are representative, these figures may be taken as ap-
proximate indications of their relative contributions to the standard
text of to-day.
CONCLUSIONS 95
This comparison suggests that, while the emendations of later
editors bulk larger numerically in the standard text of to-day than
those of the seventeenth-century editors, the latter have made a
recognizable and valuable contribution to it. It suggests, indeed,
that, if the number of changes made be taken as a criterion, their
contribution is greater than that of all the editors from Capell on.
If it were possible to measure the quality of the changes involved,
the metrical normalizations of Pope and the brilliant emendations
of Theobald might be rated at a higher value than the alterations of
the seventeenth- century editors. But even if they are thought to
lack the acuteness of the emendations of later editors, they amply
demonstrate all that we would contend for, viz., that in the evolution
of the standard text of to-day, the work of the seventeenth-century
editors has played, relatively speaking, a noteworthy part.
§9
Conclusions
Our purpose in making this study has been to determine whether
the three later folios are simply publishers' reprints which deviate
from Fi only "by the printer's negligence," or whether "Textual
Criticism . . . was, in fact, practised by the printers or correctors of
the subsequent Folio Editions (1632, 1664, 1685), although they
would have been as much surprised to learn what they were doing,
as was Moliere's hourgeois-gentilhomme when he learned that he spoke
prose. "^ The data printed below, we believe, amply demonstrate that
the latter is the correct view. The later folios, especially F2, are often
badly printed; they sometimes corrupt the text by blundering mis-
prints which were repeated in successive editions through the eight-
eenth century; they overlook innumerable corruptions that cry out
for correction or emendation. But our data show that there existed
a real anxiety to correct and improve the text, however spasmodic,
inconsistent, and wrong-headed at times, and an intelligence which,
at its best, commands respect. We maintain that the three later folios
are not imperfect reprints of Fi, F2, and F3 respectively, but critical
editions in exactly the same sense that Rowe's is a critical edition;
that — except that they make no attempt to draw up lists of dramatis
personae, to divide plays into acts and scenes, or to supply omissions
in the text from the quartos — the persons responsible for their prepa-
ration treated the text on the same principles as did Rowe, introduced
Kellner: Restoring Shakespeare (1925), p. 5.
96 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
just as many good changes, and hardly overlooked a greater number
of corrupt passages that called for emendation.
That the later folios are critical editions in the full sense of the word
cannot be maintained; but the same must be said of all eighteenth-
century editions before Capell's at the earliest. The work of the re-
visers of the folios is guesswork; they had nothing to go on but their
own intelligence, some knowledge of history, and their acquaintance
with the language of the sixteenth century, the customs of the time,
and the representation of Shakespeare's plays on the stage in their
own day. But, except for some perfunctory collation of earlier texts
by Pope, and some less perfunctory collation by Theobald, the
earlier eighteenth-century editors had no more. As to the language,
custom.s, and theater, indeed, they had already come to be at some
disadvantage, at least as compared to the editor of 1632. We believe
that in revising the text at the prompting of their own intuition, the
seventeenth-century editors were doing as much as could be expected
according to the standards of their day, and — the aforementioned
collation aside — as much as most of the eighteenth-century editors
did. We have no desire to magnify their achievements, but we be-
lieve that the differences between their aims and methods and those
of the earlier eighteenth-century editors have been exaggerated, and
that the history of the Shakespeare text should be revised by putting
them on much the same footing as their immediate successors.
None of our evidence can be construed as disturbing the long-
accepted view that the later folios have no authority in determining
the text of the plays. There is no clear proof that the revisers had re-
course to any printed or manuscript text other than that of the last
preceding folio, or to playhouse tradition. It would be difficult to
demonstrate that in a given passage they did not do so, but it is
quite clear that they could not have done so systematically or even
frequently. The later folios sometimes insert in the text a reading
which agrees with that of an earlier quarto, and F3 and F4 sometimes
restore the reading of Fi and F2, but none of these alterations need
be explained as the result of collation with the earlier text; they do
not exceed the limits of intelligent interpolation and emendation. On
the other hand, clear proof of the absence of systematic collation is
found in passages where the reviser clearly understood what was
wrong, groped after the true reading as given in the earlier text, but
arrived at only an approximation to it. If he had been collating with
an earlier text, he would surely have inserted its reading instead.
The identity of the revisers of the later folios — Shakespeare's first
editors — is doubtless lost beyond recovery. That of the editor of F2
CONCLUSIONS 97
has excited some speculation. To be sure, Steevens was inclined to
regard him as a myth^ and Mommsen implied that the new readings
of this text were derived from the players,^ but Malone suggested
Thomas Randolph as the man^ and Tieck guessed Milton.^ Mr.
Nicoll supposes that three revisers had a hand in the work. We find
no clear evidence to support or to gainsay this latter conjecture.
The only conjecture we would commit ourselves to is that the edi-
tor of F3 may have been, and that the editors of F4 were, professional
proof correctors. The latter, though they produced a few brilliant
emendations, constantly betray their pedantry, lack of imagination,
and deafness to rhythm; the chief virtues they exhibit are the proof
reader's anxiety over precision of diction and consistency of typo-
graphical style. The editor of F2 seems to us an entirely different
sort of person. In the first place, we cannot think that he was the
corrector regularly employed by Thomas Cotes, for, if he had been,
it seems incredible that, after taking such pains as he did with the
text, he would have let the book issue from the shop in the maimed
and deformed guise in which it appeared. In the second, he is strik-
ingly differentiated from his successors of 1664 and 1685 by his
changes affecting the action and meter of the plays. Our data under
these heads reveal an intelligent interest in and understanding of the
plays as drama which the later editors show very fitfully. In addition,
we think there is a difference of kind in the other changes which he
made — that, taken as a whole, they show greater imagination and
finer literary tact than his immediate successors display, and a cer-
tain unprofessional obliviousness to the limitations of the function
of a mere corrector. With his knowledge of history and the classics,
his ability to visualize the action of the play, and his ear for rhythm,
the editor of F2 naturally excites speculation about his identity. If
he was only a printing-house corrector or a publisher's hack, he was
clearly an exceptional one, not only in ability but also in courage
and enterprise, for he went far beyond what is expected of a proof
reader in any age. He was the first of Shakespeare's editors, and not
the least brilliant. • .„
* Ed. 1793, vol. i, p. xxiii f.
' Der Perkins-Shakespeare (1854), p. 481.
* The plays and poems of William Shakespeare... [edited by James Boswell] (1821),
ii.656.
^ "[Tieck] told me to-day [20 January 1836] that he thinks Milton superintended
the edition of Shakespeare to which his sonnet is prefixed, because the changes and
emendations made in it, upon the first folio, are poetical and plainly made by a poet."
Life, letters, and journals of George Ticknor (London, 1876), i.472.
Part II: Editorial Changes in the Second, Third,
AND Fourth Folios
IN compiling the lists of textual alterations presented below, we
began by recording all the deliberate changes between one folio
and the next which we could find. For this purpose we used the col-
lations of the Furness Variorum edition, and, for the plays which have
not been issued in it, the second edition of the Cambridge Shake-
speare (189 1-3). We have, however, added other changes not re-
corded in either edition from our own observation, and all the vari-
ants borrowed from the Variorum and Cambridge collations have
been verified by comparison with the folios themselves.*
The basis of our classification is explained above (p. 22). These
data are printed in the order of the plays in the folios. The word or
words altered are printed in boldface type. When such an alteration
has been adopted by modern editors it does not necessarily follow
that other alterations in the same line or passage have likewise been
adopted. We have tried to print enough of the context to make clear
the effect of each change we have recorded, though often, doubtless,
reference to the scene in which it occurs will make its effect still
clearer. To save space, when we print a passage of more than one line
from one of the folios we do not reprint all of the same passage from
the next folio whose version we compare with it, but only the verse,
clause, or phrase in which the significant change occurs. A vertical
line indicates the line-division in prose passages. Our line-numberings
are those of the Cambridge edition.
* More exactly, with the facsimile reprints of them; as a matter of convenience, we
have referred to copies of the folios only when in doubt about the exactness of the
facsimile reproduction. We have also neglected the few and unimportant discrepan-
cies between different copies of the same folio which have come to our attention.
98
Changes in the Second Folio (1632)
changes adopted by many or all modern editors
I. Thought
A. Omitted words necessary to the meaning are inserted.
[See p. 3,3 ff-]
Fi: good Gentle-jmen, let him ftrike the old woman.
F2: good Gentle-|men, let him notftrike the old Woman.
Merry Wives 1v.ii.159
Fi : Remember fon Slen-\der, my
F2 : Remember fonne Slen-\der, my daughter.
Merry Wives v.ii.3
Fi: Shee fhould this Angela haue married .'was af-|fianced to
her oath,
F2: was af-lfianced to her by oath,
Measure iii.i.209
[See p. 36.]
Fi: So bring vs to our Pallace, where wee'll (how
What's yet behinde, that meete you all fhould know.
F2: W^hat's yet behind, thats meete you all fhould know.
Measure v.i.537
Fi: fome fhow...to bee | rendred by our affiflants the Kings
command: and this | mofl gallant, illuftrate and learned Gentleman,
before | the Princeffe:
F2: to bee I rendred by our affiftants at the Kings command:
Labour's v.i.105
Fi : Quee. Therefore I doe it, and I make no doubt.
The reft will ere come in, if he be out.
F2: The reft will ne're come in, if he be out.
Labour's v.ii.152
Fi: It may vvel be cal'd loues tree, when it droppes | forth
fruite.
F2: It may well be cal'd loves tree, when it droppes | forth
fuch fruite.
As You Like It 111.ii.222
Fi: Leo. ...How now Boy?
Mam. I am like you fay.
F2: Mam. I am like you they fay.
Winter's Tale i.ii.208
Fi: But God be thanked for preuention.
Which in fufferance heartily will reioyce,
99
100 CHANGES IN THE SECOND FOLIO
Befeeching God, and you, to pardon mee.
F2: Which I in fufferance heartily will rejoyce
Henry V ii.ii.159
Fi: Thankes gentle.
Fo: Thankes gentle Sir.
1 Henry VI 11.iv.132
Fi: King. Farewell my Lord, truft not the Kentifh Rebels
Buc. Truft no body for feare you betraid.
F2: Biic. Truft no body for feare you be betraid.
2 Henry VI iv.iv.58
Fi: Henry. Gentle Sonne Edward, thou wilt ftay me?
Fo: Hen. Gentle Sonne Edzvard, thou wilt ftay with me?
J Henry VI i.i.259
Fi: when a man | ouerluflie at legs, then he weares wodden
nether-ftocks.
F2: when a man is o-|verlufty at legs, then he weares wodden
nether-ftockes.
Lear ii.iv.9
Fi: All Faults that name, nay, that Hell knowes.
Why hers [woman's], in part, or all:
F2: All faults that may be named, nay, that Hell knowes,
Cymheline ii.v.27
B. Inconsistencies of fact and circumstance are corrected.
Fi: If I fhould fay I faw fuch Iflands;
(For certes, thefe are people of the Ifland)
F2: If I fhould fay I faw fuch Iflanders.
Tempest 111.iii.29
Fi: Is this the Witnes Frier?
Firft, let her fhew your face, and after, fpeake.
F2: Firft, let her fhew her face, and after fpeake.
Measure v.i.i68
Fi : He ask'd me for a hundred markes in gold :
F2: He ask'd me for a 1000. markes in gold:
Errors ii.i.6i
[To conform with line 65.]
Fi: Whether away, or whether is thy aboade?
F2: Whither away, or where is thy aboad?
Shrew iv.v.37
Fi : Vine. What, you notorious villaine, didft thou neuer | fee
thy Miftris father, Vincentio?
ADOPTED: THOUGHT: B 101
F2: ...thy Mafters father, Vincentio?
Shrew v.i.45
Fi: Cam. [to Florizell] Gracious my Lord,
You know my Fathers temper:
F2: You know your Fathers temper:
Winter's Tale 1v.iv.459
Fi : Kin. Thankes good my Countrymen.
Flu. By lefhu, I am your Maiefties Countreyman,
F2: King. Thankes good my Countryman.
Henry F1v.vii.107
Fi: Quee[n Isabel to King Henry]. So happy be the IfTue
brother Ireland
F2: Quee. So happy be the Iffue brother England
Henry V v.ii.12
Fi: Peter. O God, haue I ouercome mine Enemies in this
prefence?
F2: Peter. O God have I overcome mine Enemie in this
prefence?
2 Henry VI 11.iii.96
[See p. 36.]
Fi: Sirrah, call in my fonne to be my bale:
I know ere they will haue me go to Ward,
They'l pawne their fwords of my infranchifement.
F2: Sirrah, call in my fonnes to be my baile:
2 Henry VI v.i.iii
[See p. 36.]
Fi: Prince. When I returne with victorie to the field.
He fee your Grace: till then, He follow her.
F2: Prin. When I returne with victory from the field,
3 Henry VI i.i.261
Fi: Good Man, thofe ioyfull teares fhew thy true hearts,
F2: Good Man, thofe joyfull teares fhew thy trve heart,
Henry VIII v.iii.174
Fi: Chi[ron\. ...Drag hence her husband to fome fecret hole.
And make his dead Trunke-Pillow to our luft.
Tamo. But when ye haue the hony we defire.
Let not this Wafpe out-liue vs both to fling.
F2: Tarn. But when ye have the hony ye defire,
Titus ii.iii.131
Fi : Puhl. [to Marcus] Therefore my Lords it highly vs con-
cernes.
102 CHANGES IN THE SECOND FOLIO
F2: Pub. Therefore my Lord it highly us concernes,
Titus 1v.iii.27
Fi: Lucius, Luctdlus, and Sempronius Vllorxa: All,
F2: Lucius, Lucullus, add Semprovius: All,
Timon iii.iv.i 13
Fi: Mai. [to Macduff]. ..What I am truly
Is thine, and my poore Countries to command:
Whither indeed, before they heere approach
Old Seyward with ten thoufand warlike men
Already at a point, was fetting foorth:
F2: Whither indeed, before thy heere approach,
Macbeth 1v.iii.133
[See p. 36 f. and cf. line 148, my heere remaine in England.]
C. Corrupt readings which take, exactly or approximately, the
form of an existing word or words, not glaringly unintelligible in the
context, are corrected.
Fi : / ciirfe my felfe, for they [my thoughts] are fent by me.
That they JJiould harbour where their Lord fhould be.
F')'. That they Jh 01 lid harbour where their Lord would be.
Gentlemen iii.i.149
[See p. 37.]
Fi: It feemes you lou'd not her, not leaue her token:
F2: It feemes you lov'd not her, to leave her token:
Gentlemen 1v.iv.70
Fi: The weariefl, and mofl loathed worldly life
That Age, Ache, periury, and imprifonment
Can lay on nature, is a Paradife
To what we feare of death.
F2: That Age, Ache, penury, and imprifonment
Measure in. i. 131
Fi: For his Poffeffions,
Although by confutation they are ours;
We doe en-ftate, and widow you with all,
F2: Although by confifcation they are ours;
Measure v.i.421
Fi: What haue befalne of them and they till now.
F2: What hath befalne of them and thee till now.
Errors i.i.124
Fi: Is apprehended for a riuall here,
F2: Is apprehended for arrivall here.
Errors i.ii.4
ADOPTED: THOUGHT: C 103
Fi: Ad. ...Sifter, you know he promis'd me a chaine,
Would that alone, a loue he would detaine,
So he would keepe faire quarter with his bed :
F2: Would that alone, alone he would detaine,
Errors ii.i.107
Fi: Afi. You would all this time haueprou'd, here is no | time
for all things.
5. Dro. Marry and did fir : namely, in no time to re- 1 couer
haire loft by Nature.
Fo: An. You would all this time have prov'd, there is
no I time for all things.
5. Dro. Marry and did fir: namely, no time to recover...
Errors ii.ii.ioi
Fi: Your weeping fifter is no wife of mine,
Nor to her bed no homage doe I owe:
Farre more, farre more, to you doe I decline:...
Spread ore the filuer wanes thy golden haires;
And as a bud He take thee, and there lie:
F2: And as a bed He take thee, and there lie:
Errors Ii1.ii.49
Fi: Look'd he or red or pale, or fad or merrily?
What obferuation mad '11 thou in this cafe?
Oh, his hearts Meteors tilting in his face.
F2: Of his hearts Meteors tilting in his face?
Errors iv.ii.6
Fi: A diuell in an euerlafting garment hath him;
On whofe hard heart is button'd vp with Ileele:
F2: One whofe hard heart is button'd up with fteele:
Errors 1v.ii.34
Fi: this I wonder at.
Thus he vnknowne to me fhould be in debt:
F2: That he vnknowne to me fhould be in debt:
Errors 1v.ii.48
Fi: A woman that is like a Germane Cloake,
Still a repairing: euer out of frame,
F2: A woman, that is like a Germane Clocke,
Labour's ill. i. 180
Fi: Baff. So may the outward fhowes be leaft themfelues
The world is ftill deceiu'd with ornament. ...
There is no voice fo fimple, but affumes
Some marke of vertue on his outward parts;
F2: There is no vice fo fimple, but affumes
Merchant iii.ii.8i
104 CHANGES IN THE SECOND FOLIO
Fi: Cel. I pray you, one of you queftion yon'd man,...
Clo. Holla; you Clowne...
RoJ. Peace I fay; good euen to your friend.
Cor. And to you gentle Sir, and to you all.
Fj: RoJ. Peace I fay; good even to you friend.
As Yo2i Like It 11.iv.64
Fi : all (forfooth) defying the name of Rofalinde.
F2: all (forfooth) deifying the name of Rofalind.
As You Like It 111.ii.337
Fi: but it is a melancholy of mine owne, com-| pounded of
many fimples, extracted from many obiects, | and indeed the fundrie
contemplation of my trauells, in | which by often rumination, wraps
me in a moft humo-|rous fadneffe.
F2: ...in 1 which my often rumination,...
As You Like It iv.i.17
Fi: and to giue this napkin
Died in this bloud, vnto the Shepheard youth,
F2: Died in his blood, unto the Shepheard youth.
As You Like It 1v.iii.154
[See p. 37.]
Fi : I do fit.
F2: I do fir.
As You Like It v.i.34
Fi: Old fafhions pleafe me bell, I am not fo nice
To charge true rules for old inuentions.
F2: To change true rules for old inventions.
Shrew iii.i.79
Fi: A will make the man mad to make the woman | of him.
F2: A will make the man mad to make a woman of | him.
Shrew iv.v.35
Fi: But tell me then 'tis fo, for looke, thy cheekes
Confeffe it 'ton tooth to th'other, and thine eies
F2: Confeffe it 'ton to th'other, and thine eyes
AlVs Well i.iii.i68
Fi : Old Laf. Thefe boyes are boyes of Ice, they 'le none | haue
heere : fure they are baflards to the Englifh, the | French nere got em.
F2: ...they'le none | have her:...
AlVs Well 11.iii.92
Fi : I write good creature, wherefoere fhe is,
Her hart waighes fadly:
F2: I right good creature, wherefoere fhe is,
All's Well III. V. 63
ADOPTED: THOUGHT: C 105
Fi: for whofe throne 'tis needfull
Ere I can perfect mine intents, to kneele.
Fo: fore whofe throne 'tis needfull
Airs Well iv.iv.3
Fi: And mak'fl connecturall feares to come into me,
F2: And mak'H conjecturall feares to come into me,
All's Well v.iii.114
Fi: Would I might neuer ftirre from off this place,
I would giue it euery foot to haue this face:
It would not be fir nobbe in any cafe.
F2: I would not be fir nobbe in any cafe.
John i.i.147
Fi: Fro that fupernal ludge that ftirs good thoughts France,
In any beaft of flrong authoritie,
F2: In any breaft of ftrong authority,
John ii.i.113
Fi: Say, fhall the currant of our right rome on,
F2: Say, fhall the currant of our right runne on,
John II. i. 33 5
Fi: I will not change | my Horfe with any that treades but
on foure poftures:
F2: ...that treades but on foure pafternes:
Henry V 111.vii.12
Fr. Come, goe me in proceffion to the Village:
F2: Come, go we in proceffion tothe Village:
Henry Fiv.viii.iii
[See p. 37.]
Fi: The middle Centure of this curfed Towne.
F2: The middle Center of this curfed Towne.
/ Henry VI ii.ii.6
Fit This blot...
Shall be whipt out in the next Parliament,
F2: Shall be wip't out in the next Parliament,
/ Henry VI 11.iv.117
Fi: Words fweetly plac'd, and modeftie directed,
F2: Words fweetly plac'd, and modeftly directed,
I Henry VI v.iii.179
Fi: War. And loe, where George of Clarence fweepes along,
Of force enough to bid his Brother Battaile:
With whom, in vpright zeale to right, preuailes
More then the nature of a Brothers Loue.
F2: With whom, an upright zeale to right, prevailes
3 Henry VI v.i.78
106 CHANGES IN THE SECOND FOLIO
Fi: This refpite fhooke
The bofome of my Confcience, enter'd me;
Yea, with a {pitting power, and made to tremble
The region of my Breail,
F2: Yea with a fplitting power, and made to tremble
Henry VIII 11.iv.183
Fi: you haue fcarfe time
To fteale from Spirituall leyfure, a briefe fpan
To keepe your earthly Audit, fure in that
I deeme you an ill Husband, and am gald
To haue you therein my Companion.
F2: I deeme you an ill Husband, and am glad
Henry VIII 111.ii.142
Fi: Kath. ...Did'ft thou not tell me Griffith, as thou lead'fl
mee,
That the great Childe of Honor, Cardinall Wolfey
Was dead? ,
Grif. Yes Madam: but I thanke your Grace
Out of the paine you fuffer'd, gaue no eare too't.
F2: Grif. Yes Madam: but I thinke your Grace
Henry VIII iv.ii.y
Fi: And yet the fpacious bredth of this diuifion.
Admits no Orifex for a point as fubtle,
F2: Admits no Orifece for a point as fubtle,
T roil us v.ii.149
Fi: For looke you I may make the belly Smile,
As well as fpeake, it taintingly replyed
To'th' difcontented Members...
F2: As well as fpeake, it tantingly replyed
Coriolanus i.i.108
Fi: Such eyes the Widowes in Carioles were.
And Mothers that lacke Sonnes.
F2: Such eyes the Widowes in Coriolus weare,
Coriolanus ii.i.169
Fi: 2 Cit. Your owne defert.
Corio. I, but mine owne defire.
3 Cit. How not your owne defire?
F2: Corio. I, no mine owne defire.
Coriolanus ii.iii.66
[We take no to be a misprint for not, which F3 corrects.]
Fi: Better it is to dye, better to flerue,
Then craue the higher, which firft we do deferue.
ADOPTED: THOUGHT: C 107
F2: Then crave the hire, which firil we doe deferve.
Coriolanus ii.iii.iii
Fi: When fhe (poore Hen)...
Ha's clock'd thee to the Warres:
F2: Ha's cluck'd thee to the Warres,
Coriolanus v.iii.163
Fi: I am the Sea. Harke how her fighes doe flow:
F2: I am the Sea. Harke how her fighes doe blow.-
Titus iii.i.226
Fi: Tit. ...Now giue fome furance that thou art Reuenge,
Stab them, or teare them on thy Chariot wheeles,
And then He come and be thy Waggoner,...
Prouide thee two proper Palfries, as blacke as let,
To hale thy vengefull Waggon fwift away,
And finde out Murder in their guilty cares.
F2: And find out Murder in their guilty Caves.
Titus v.ii.52
Fi: Some of fixteen,
Plucke the lyn'd Crutch from thy old limping Sire,
F2: Sonne of fixteene,
Timon iv.i.13
Fi: It is the Paflour Lards, the Brothers fides.
The want that makes him leaue:
F2: The want that makes him leane:
Timon 1v.iii.13
[See p. 38.]
Fi: For I haue neyther writ nor words, nor worth,...
To ftirre mens Blood.
F2: For I have neither wit nor words, nor worth,
Caesar 111.ii.221
Fi: King. Is execution done on Cawdor}
Or not thofe in Commifiion yet return'd?
F2: Are not thofe in Commiffion yet return'd?
Macbeth i.iv.i
Fi : Now fpurres the lated Traueller apace,
To gayne the timely Inne, end neere approches
The fubiect of our Watch.
F2: To gayne the timely Inne, and neere approches
Macbeth iii.iii.7
Fi: Since that the trueft Iffue of thy Throne
By his owne Interdiction ftands accuft,
108 CHANGES IN THE SECOND FOLIO
And do's blafpheme his breed?
F2: By his owne Interdiction Hands accurft,
Macbeth 1v.iii.107
Fi: For by...
The miferies of Heccat
F2: The myfteries of Hecat
Lear i.i.109
Fi: Cleo. Saue you, my Lord.
Enob. No Lady.
Cleo. Was he not heere?
F2: Cleo. Saw you my Lord.
Antony i.ii.75
Fi: Mene. I cannot hope,
Cxfar and Anthony fhall well greet together;
His Wife that's dead, did trefpaffes to Cxjar,
His Brother wan'd vpon him,
F2: His Brother warr'd upon him,
Antony ii.i.41
Fi: Your heart he's mind too.
F2: Your heart has mind to.
Antony iii.iv.38
Fi: Our ouer-plus of fhipping will we burne,
And with the reft full mann'd, from th'head of Action
Beate th'approaching Cxfar.
F2: And with the reft full mann'd, from th'heart of Actium
Antony 111.vii.51
[See p. 38.]
Fi: Lord of his Fortunes he falutes thee, and
Requires to Hue in Egypt, which not granted
He Leffons his Requells, and to thee fues
To let him breath betweene the Heauens and Earth
A priuate man in Athens: this for him.
F2: He Leffens his requefts, and to thee fues
Antony 111.xii.13
Fi: Csefar intreats,
Not to confider in what cafe thou ftand'ft
Further then he is Caefars.
F2: Further than he is Caefar.
Antony 111.xiii.55
Fi: lach. He fits 'mongft men, like a defended God;
F2: lach. He fits mongft men, like a defcended god:
Cymbeline I.vi.i68
ADOPTED: THOUGHT: C 109
Fi: Their difcipline,
(Now wing-led with their courages) will make knowne
To their Approuers, they are People, fuch
That mend vpon the world.
F2: (Now mingled with their courages) will make knowne
Cymbeline 11.iv.24
Fi: How many ftore of Miles may we well rid
Twixt houre, and houre?
F2: How many fcore of Miles may we well ride
Cymbeline iii.ii.66
D. Corrupt readings are emended by pure guesswork.
Fi: To teftifie your bounty, I thank you, you haue ceftern'd |
me;
F2: ...you have Teftern'd me;
Gentlemen i.i.135
[See p. 38.]
Fi: If thou wilt goe with me to the Ale-|houfe: if not, thou
art an Hebrew,
F2: If thou wilt goe with me to the Ale- 1 houfe, (o, if not,...
Gentlemen 11. v. 44
Fi: there's a knot: a gin, a packe, |a confpiracie againfl me:
F2 : there's a knot : a ging, a packe, | a confpiracie againft me :
Merry Wives 1v.ii.103
[See p. 38.]
Fi : Your weeping fifler is no wife of mine.
Nor to her bed no homage doe I owe:
Farre more, farre more, to you doe I decline:
Oh traine me not fweet Mermaide with thy note,
To drowne me in thy filter floud of teares:
F2: To drowne me in thy filters floud of teares:
Errors 111.ii.46
Fi: I cannot tell, expect they are bufied about a | counterfeit
affurance: take you affurance of her,
F2: I cannot tell, except they are bufied...
Shrew iv.iv.88
Fi: Petr. Well, I fay no: and therefore fir affurance,
Let's each one fend vnto his wife,
F2: Petr. Well, I fay no; and therefore for affurance,
Shrew v.ii.65
Fi: Yet in this captious, and intemible Siue.
F2: Yet in this captious, and intenible Sive.
AlVs Well i.iii.193
[See p. 38.]
110 CHANGES IN THE SECOND FOLIO
Fi: My fore-paft proofes, how ere the matter fall
Shall taze my feares of little vanitie,
Hauing vainly fear'd too little,
F2: Shal taxe my feares of little vanity,
Airs Well v.iii.i22
Fi: How eafie is it, for the proper falfe
In womens waxen hearts to fet their formes:
Also, O frailtie is the caufe, not wee,
F2: Alas, our frailty is the caufe
Tivelfth Night 11.ii.29
Fi : let thy tongue | langer with arguments of Rate,
F2: let thy tongue | tang with arguments of flate,
Twelfth Night iii.iv.66
Fi: Then he's a Rogue, and a paffy meafures panyn:
F2: Then he's a Rogue after a paffy meafures Pavin:
Twelfth Night v.i.192
Fi: Strong reafons makes ftrange actions:
F2: Strong reafons makes ftrong actions:
John III. iv. 182
Fi: Of headly Murther, Spoyle, and Villany.
F2: Of headdy Murther, Spoyle, and Villany.
Henry V Ii1.iii.32
Fi: Marke then abounding valour in our Englifh:
That being dead, like to the bullets crating,
Breake out into a fecond courfe of mifchiefe,
F2: That being dead, like to the bullets grafing,
Henry F1v.iii.105
Fi: They'l pawne their fwords of my infranchifement.
F2: They'l pawne their Swords for my infranchifement.
2 Henry VI v.i.113
Fi: They may Cnm Pruiilegio, wee away
The lag end of their lewdneffe, and be laugh'd at.
F2: They may Cum Privilegio, weare away
Henry VIII i.iii.34
Fi: Enter Doctor Bids.
Cran. So.
Buts. This is a Peere of Malice: I am glad
I came this way fo happily. The King
Shall vnderftand it prefently.
F2: Buts. This is a Peice of Malice: I am glad
Henry VIII v.ii.8
ADOPTED: THOUGHT: D 111
Fi: I, as an Hofller, that fourth poorefl peece
Will beare the Knaue by'th Volume:
F2: I, as an Hoftler, that for th'pooreft peece
Coriolanus iii.iii.32
Fi: For though fome Nature bids all vs lament,
F2: For though fond Nature bids all us lament,
Romeo iv.v.82
Fi: Ale. ...How full of valour did he beare himfelfe
In the lafl Conflict, and made plenteous wounds?
2 He has made too much plenty with him:
F2: 2 He has made too much plenty with em
Timon iii.v.66
Fi: Pafsion I fee is catching from mine eyes,...
Began to water.
F2: Pafsion I fee is catching, for mine eyes,
Caesar in. i. 284
Fi: I fmile vpon her, do: I will giue thee | in thine owne
Courtfhip,
F2: ...I will gyve thee | in thine owne Courtfhip.
Othello ii.i.169
Fi : Ant.... Say our pleafure.
To fuch whofe places vnder vs, require
Our quicke remoue from hence.
F2: To fuch whofe place is under us, requires
Ayitony i.ii.189
Fi: Affemble me immediate counfell,
F2: Affemble we immediate counfell,
Antony i.iv.75
Fi: Your Marriners are Militers, Reapers, people
F2: Your Marriners are Muliters, Reapers, people
Antony Ii1.vii.35
Fi: This obiect, which
Takes prifoner the wild motion of mine eye,
Fiering it onely heere, fhould I (damn'd then)
Slauuer with lippes as common as the ftayres
That mount the Capitoll:
F2: Fixing it onely heere, fhould I (damnd then)
Cymbeline i.vi.103
E. Superfluous lines are omitted.
Fi: Then when our felues we fee in Ladies eyes,
With our felues.
112 CHANGES IN THE SECOND FOLIO
Doe we not likewife fee our learning there?
F2: Then when our felves we fee in Ladies eyes,
Doe we not likewife fee our learning there?
Labour's iv.iii.312-3
Fi: Your name I befeech you fir?
MiiJ. Mujlard-feede.
Peaf. Peafe-bloffome.
Bot. Good mafter MiiJIard feede,
F2: Mtcf. Mujlard-feede.
Bot. Good maifter Mujiard feede,
Dream iii.i.176
[c.w.
[c.w.
Fi: Qu. If he were dead, what would betide on me? | Gray.
Ifhe were dead, what would betide on me?
Gray. No other harme, but loffe of fuch a Lord.
F2: Qu. If he were dead, what would betide on me? | Gray.
Gray. No other harme, but loffe of fuch a Lord.
Richard III i.iii.6
II. Action
A. Entrances and exits are correctly indicated.
[In modern editions these new stage-directions inserted in F2 (like those in the
earlier texts) are often amplified.]
Gentlemen i.ii.103, i.iii.87, 11.iv.95, iii-i-5o, 169, 187, 260, 276,
iv,ii.i29, 136, 1v.iv.58, 85, 103, 174; Merry Wives 111.iii.35, ^'^^ iv.ii.9,
39, 71, 96, 160, 164, 177, IV.V.58, 66, 75, 82, 85; Measure in. i. 153,
171 [1. 172 in modern edd.], 1i1.ii.79, 242; Errors ii.i.85; Much Ado
III. i. 14; Labour's i.i.286, 11. i. 195, ill. i. 60, 126, 1v.iii.208; Dream
II. i. 176; As You Like It iv.i.29; Twelfth Night 111.iv.190, 207, 368;
Winters Tale ii.i.33, 11. ii. 18-9, ii.iii.9, iii.ii.io, 114, iii.iii.59,
iv.iv.52 [1. 54 in modern edd.], 817; / Henry /F i.ii.153; 2 Henry IV
i.ii.214; Henry V 11.ii.193; ^ Henry VI 1v.ii.56, 1v.iii.53; Troilus
iii.ii.58, IV.V.12 [1. 17 in modern edd.]; Coriolanus V.v.7; Tit^^s ii.iii.
186, v.ii.131; Romeo i.v.125, 11.ii.142, 187, v.iii.ii, 44; Macbeth in.
iv.73, 106; Hamlet v.ii.177.
At AsYou Like It v.iv.192 Exit is correctly omitted.
B. Stage-directions indicating action on the stage are added.
Within (Merry Wives 111.iii.74)
Dies (2 Henry VI v.ii.28)
aside (Richard III iii.i.82)
Kills him (Caesar v.iii.46)
ADOPTED: ACTION: C 113
C. Stage-directions are correctly emended.
Fi: Enter luliana,
F2: Enter Luciana,
Errors iil.ii.i
Fi: Enter Ladies.
¥2' Enter Princejfe, and Ladies.
Labour's v.ii.i
Fi : Hortentio Jljler to Bianca.
F2: Hortenjio a Shuiter to Bianca.
Shrew i.i.47
Fi : Enter the Gati.
F2: Enter the Gates.
Coriolanns i.iv.45
D. Speeches are correctly redistributed.
Labour s passim Qu[een] is altered to Prin[cess].
Labour's v.ii.543, assigned to Ber[owne] in Fi, is transferred to
Boy[et].
As You Like It i.i. 145-54, printed in Fi as a paragraph without
speech tag, is assigned to Oli[ver].
As You Like It Ii.iii.i6, printed in Fi as the last line of the pre-
ceding speech by Adam, is assigned to Orl[ando].
As You Like It i1.in.2g, assigned to Ad[am] in Fi, is transferred
to Orl[ando].
As You Like It u.v.4^-^7,, assigned to Amy[ens] in Fi, is trans-
ferred to Iaq[ues].
Shrew iv.i.144, assigned to Peter in Fi, is transferred to Ser[vant].
Shrew lv.ii.4-5, assigned to Luc[entio] in Fi, is transferred to
IIor[tensio].
Shrew iv.ii.6, 8, assigned to IIor[tensio] in Fi, are transferred to
Luc[entio].
Twelfth Night i.iii.48, assigned to Ma[ria] in Fi, is transferred to
[Sir] An[drew].
Twelfth Night iii.iv.24-5, assigned to Mal[volio] in Fi, is trans-
ferred to Ol[ivia].
J Henry VI 11. ii. 89-92, assigned to Cla[rence] in Fi, is added to
the preceding speech of Edw[ard].
Troilus v.ii.13, assigned to Cal[chas] (who is not on) in Fi, is
transferred to Cref[sida\.
Coriolanus iii.i.237, assigned to Corio[lanus] in Fi, is transferred
to Com[inius\.
Titus generally King is altered to Sat[urninus]. (Q sometimes)
Titus v.i.17, included in the preceding speech of [First] Goth in
F], is transferred to Omn[es].
114 CHANGES IN THE SECOND FOLIO
Romeo Ii1.ii.73, assigned to Niir{se] in Fi, is added to the following
speech of hililet].
III. Meter
A. Verses are lengthened or shortened to improve their rhythm.
Fi: Why that's my dainty Ariell: I fhall miffe
Thee, but yet thou fhalt haue freedome: fo, fo, fo.
Fo: Why that's my dainty Ariell: I fhall miffe thee,
But yet thou fhalt have freedome: fo, fo, fo.
Tempest v. i. 95-6
Fi: Or elfe I often had beene often miferable.
F2: Or elfe I often had beene miferable.
Gentlemen iv.i.35
Fi: Who fhould be trufted, when ones right hand
F2: Who fhould be truiled now, when ones right hand
Gentlemen v.iv.67
Fi: Where youth, and coft, witleffe brauery keepes.
F2: Where youth and coft, and witleffe bravery keepes.
Measure i.iii.io
Fi: Too late? why no: I that doe fpeak a word
May call it againe: well, beleeue this
F2: May call it backe againe: well, beleeve this
Measure 11.ii.58
Fi: As loue himfelfe do's, loue would neuer be quiet,
F2: As love himfelfe do's, love would nere be quiet,
Measure ii.ii.iii
Fi: Vnto a woman, happy but for me,
And by me; had not our hap beene bad:
F2: And by me too, had not our hap beene bad:
Errors i.i.39
Fi: And much different from the man he was:
Fo: And much much different from the man he was:
Errors v.i.46
Fi: And to the ftricteft decrees He write my name.
F2: And to the ftrict'ft decrees He write my name.
Labour s i.i.117
Fi: W^ell fitted in Arts, glorious in Armes:
F2: Well fitted in the Arts, glorious in Armes:
Labour's ii.i.45
ADOPTED: METER: A 115
Fi: Well, I will loue, write, figh, pray, fhue, grone,
F2: Well, I will love, write, figh, pray, fue, and grone,
Labour's iii.i.194
Fi: Exhalest this vapor-vow, in thee it is:
F2 : ExhalJ't this vapor-vow, in thee it is :
Labour s iv.iii.66
Fi: O nothing fo fure, and thereby all forfworne.
F2: Nothing fo fure, and thereby all forfworne.
Labour s iv.iii.279
Fi: Let's once loofe our oathes to finde our felues,
F2: Let us once loofe our oathes to find our felves,
Labour s iv.iii.357
Fi: They were all in lamentable cafes.
F2: O! They were all in lamentable cafes.
Labour's v.ii.273
Fi: This iefl is drie to me. Gentle fweete,
F2: This jeft is dry to me. Faire gentle fweet.
Labour's v.ii.373
Fi: Much vpon this tis: and might not you
Foreftall our fport, to make vs thus vntrue?
F2: Much upon this it is: and might not you
Labour s v.ii.472
Fi : And this fame progeny of euills,
Comes from our debate, from our diffention,
F2: And this fame progeny of evills comes
From our debate, from our diffention.
Dream ii.i.115-6
Fi: The. Heere come the louers, full of ioy and mirth:
loy, gentle friends, ioy and frefh dayes
Of loue accompany your hearts.
LyJ. More then to vs, waite in your royall walkes, | your
boord, your bed.
F2: Ioy, gentle friends, joy and frefh dayes of love
Accompany your hearts.
Lyf. More then to us,
Waite in your royall walkes, your boord, your bed.
Dream v. i. 28-31
Fi: And tragicall my noble Lord it is: for Piramus
Therein doth kill himfelfe. Which when I faw
Rehearft, I muft confeffe, made mine eyes water:
116 CHANGES IN THE SECOND FOLIO
But more merrie teares, the paffion of loud laughter
Neuer fhed.
F2: And tragicall my noble Lord it is:
For Piramus therein doth kill himfelfe.
Which when I faw rehearft, I mull confeffe,
Made mine eyes water: but more merry teares,
The paffion of loud laughter never fhed.
Dream v. i. 66-70
Fi: The body of Countrie, Citie, Court,
F2: The body of the Country, City, Court,
As You Like It ii.i.59
Fi: Scratch thee but with a pin, and there remaines
Some fcarre of it: Leane vpon a rufh
The Cicatrice and capable impreffure
Thy palme fome moment keepes:
F2: Some fcarre of it: Leane but upon a rufh,
As You Like It iii.v.22
Fi: I loue him not, nor hate him not: and yet
Haue more caufe to hate him then to loue him,
F2: I have more caufe to hate him then to love him.
As You Like It iii.v.127
Fi: My gentle Phebe, did bid me giue you this:
F2: My gentle Phebe, bid me give you this:
As You Like It iv.iii.7
Fi: Proceed, proceed: wee'l begin thefe rights,
F2: Proceed, proceed, we will begin thele rights.
As You Like It v.iv.191
Fi: And not a Tinker, nor Chriftopher Slie.
F2: And not a Tinker, nor Chriftophero Sly.
SJireiv Ind.ii.71
F^i : I pray you do. He attend her heere,
F2: I pray you do. I will attend her heere.
Shreiv ii.i.167
Fi: For fuch an iniurie would vexe a very faint.
Much more a fhrew of impatient humour.
F2: Much more a fhrew of thy impatient humour.
Shrew 111.ii.29
Fi: Why thou faifl true, it is paltrie cap,
F?: Why thou faifl true, it is a paltry cap.
Shrew iv.iii.8i
ADOPTED: METER: A 117
Fi: Whats this? a fleeue? 'tis like demi cannon,
F2: What this? a fleeve? 'tis like a demi cannon,
Shrew iv.iii.88
Fi: In fine, deliuers me to fill the time.
Her felfe moil chaftly abfent: after
To marry her. He adde three thoufand Crownes
F2: Her felfe moft chaftly abfent: after this
AlVs Well 111.vii.34
Fi: That me thought her eyes had loft her tongue,
F2: That fure me thought her eyes had loft her tongue,
Twelfth Night ii.ii.i8
Fi: we knew not
The Doctrine of ill-doing, nor dream'd
That any did :
F2: The Doctrine of ill-doing no nor dream'd
Winter's Tale i.ii.70
Fi: Vnclafp'd my practife, quit his fortunes here
(Which you knew great) and to the hazard
Of all Incertainties, himfelfe commended,
F2: (Which you knew great) and to the certaine hazard
Winter s Tale 111.ii.165
[See p. 43-]
Fi: The Larke, that tirra-Lyra chaunts,
With heigh, the ThruJJi and the lay:
F2: With heigh, with heigh the Thrujh and the lay:
Winter's Tale iv.iii.io
Fi: But that our Feafts
In euery Meffe, haue folly; and the Feeders
Digeft with a Cuftome, I fhould blufh
To fee you fo attyr'd :
F2: Difgeft it with a Cuftome, I fhould blufh
Winter's Tale 1v.iv.12
Fi: Perd. ...Which then will fpeake, that you muft change
this purpofe,
Or I my life.
Flo. Thou deer' ft Perdita,
With thefe forc'd thoughts, I prethee darken not
The Mirth o'th' Feall:
F2: Flo. Thou deerelt Perdita,
Winter's Tale 1v.iv.40
118 CHANGES IN THE SECOND FOLIO
Fi: Poore we call them, in their Natiue Lords.
F2: Poore we may call them, in their Native Lords.
Henry V in. v. 26
Fi: 'Tis pofitiue againft all exceptions. Lords,
F2: 'Tis pofitive 'gainft all exceptions. Lords,
Henry V 1v.ii.25
Fi: Behold the Englilh beach
Pales in the flood; with Men, Wiues, and Boyes,
F2: Pales in the flood, with Men, with Wives, and Boyes,
Henry V v. Prol. 10
Fi: Your eyes which hitherto haue borne
In them againft the French that met them in their bent,
The fatall Balls of murthering Bafiliflves:
F2: Your eyes which hitherto have borne in them
Againft the French that met them in their bent,
Henry V v.ii.15-6
Fi: His Daughter firll; and in fequele, all,
F2: His Daughter firll; and then in fequele, all,
Henry V v.ii.325
Fi: When at their Mothers moiftned eyes, Babes fliall fuck,
F2: When at their Mothers moift eyes. Babes fhall fucke,
I Henry VI i.i.49
Fi: That beautie am I bled with, which you may fee,
F2: That beautie am I bleft with, which you fee.
I Henry VI i.ii.86
Fi: Was, for that (young Richard thus remou'd,
F2: Was, for that (young King Richard thus remov'd,
I Henry VI 11. v. 71
Fi: From Lionel Duke of Clarence, third Sonne
F2: From Lionel Duke of Clarence, the third Sonne
/ Henry VI ii.v.75
Fi: If Richard will be true, not that all alone.
But all the whole Inheritance I giue,
F2: If Richard will be true, not that alone,
I Henry VI iii.i.163
Fi: That Henry borne at Monmouth fhould winne all.
And Henry borne at W^indfor, loofe all:
F2: And Henry borne at Windfor fhould lofe all:
I Henry VI iii.i.199
ADOPTED: METER: A 119
Fi: And now Lord Protector, \ie\v the Letter
F2: And now my Lord Protector view the Letter,
I Henry VI iv.i.48
Fi: Well go too, we'll haue no Baftards Hue,
F2: Well go to, we will have no Baftards live,
1 Henry VI v.iv.70
Fi : Befide the haughtie Protector, haue we Beauford
F2: Befide the haught Protector, have we Beauford
2 Henry VI i.iii.66
F] : True Clifford, that's Richard Duke of Yorke.
F2: True Clifford, and that's Richard Duke of Yorke.
J Henry VI i.i.83
Fi: And ouer the Chayre of State, where now he fits,
F2: And ore the Chayre of State, where now he fits,
J Henry VI i.i.i68
Fi: Peace impudent, and Ihamelefie Warwicke,
F2: Peace impudent, and fhameleffe Warwicke, Peace,
J Henry VI 111.iii.156
Fi: Orphans, for their Parents timeles death,
F2: And Orphans, for their Parents timeles death,
J Henry VI v.vi.42
Fi: But his euafion winged thus fwift with fcorne,
Cannot outflye our apprehenfions.
F2: But his evafion wing'd thus fwift with fcorne,
Troiliis ii.iii.iio
[Presumably to remove the possibility of reading winged as a dissyllable.]
Fi : Runne reeking o're the Hues of men, as if 'twere
A perpetuall fpoyle: and till we call'd
F2: Runne recking o're the lives of men, as if
'Twere a perpetuall fpoyle; and till we call'd
Coriolanus ii.ii.117-8
Fi : as they were
The common Muck of the World: he couets leffe
F2: The common Mucke o'th World: he covets leffe
Coriolanus ii.ii.124
Fi : his gracious nature
Would thinke vpon you, for your Voyces,
And tranflate his Mallice towards you, into Loue,
120 CHANGES IN THE SECOND FOLIO
F2: Would thinke upon you, for your Voyces, and
Tranflate his Mallice towards you, into Love,
Coriolanus ii.iii. 185-6
Fi: For thefe, Tribunes, in the dufl I write
F2: For thefe, thefe Tribunes, in the dufl I write
Titiis iii.i.i2
Fi: And Laiiinia thou fhalt be employd in thefe things;
F2: Lavinia thou fhalt be employd in thefe things:
Titiis III. i. 282
Fi : What doeft thou ftrike at Marcus with knife
F2: What doefl thou ftrike at Marcus with thy knife.
Titus 111.ii.52
Fi: Mine eyes cloi'd with view of Tirranie.'
F2: Mine eyes are cloi'd with view of Tiranny:
Titus 111.ii.55
Fi: Sir Boy let me fee your Archerie,
F2: Sir Boy now let me fee your Archery,
Titus iv.iii.2
Fi: Rape and Murder, therefore called fo,
F2: Rapine and Murder, therefore called fo,
Titus v.ii.62
Fi: Then thofe that haue coying to be flrange,
F2: Then thofe that have more coyning to be ftrange,
Romeo ii.ii.ioi
Fi : Warrant thee my man as true as fteele.
F2: I warrant thee my man as true as fteele.
Romeo 11.iv.192
Fi: She would be as fwift in motion as a ball,
F2: She'ld be as fwift in motion as a ball,
Romeo ii.v.13
Fi: Whiter then new Snow vpon a Rauens backer
F2: Whiter then new Snow on a Ravens backe:
Romeo 111.ii.19
Fi: To wreake the Loue I bore my Cozin,
F2: To wreake the Love I bore my Cozin, Tybalt
Romeo iii.v.ioi
Fi: From that it is difpos'd: therefore it is meet,
F2: From that it is difpos'd, therefore tis meet,
Caesar i.ii.309
ADOPTED: xMETER: A 121
Fi: The Genius, and the mortall Inilruments
Are then in councell; and the ftate of a man,
Like to a little Kingdome, fuffers then
F2: Are then in councell; and the ftate of man,
Caesar ii.i.67
Fi: If he by chance efcape your venom'd ftuck.
Our purpofe may hold there; how fweet Queene.
F2: Our purpofe may hold there; how now fweet Queene.
Hamlet 1v.vii.163
Fi: No worfe a husband then the beft of men: whofe
Vertue, and whofe generall graces, fpeake
F2: No worfe a husband then the beft of men:
Whofe vertue, and whofe generall graces, fpeake
Antony ii.ii. 133-4
Fi: And what
Made all-honor'd, honeft, Romaine Brutus,...
To drench the Capitoll,
F2: Mad the all-honor'd, honeft Romane Brutus,
Antony ii.vi.i6
Fi: That ftands vpon the Swell at the full of Tide:
F2: That ftands upon the Swell at full of Tide;
Antony iii.ii.49
Fi: Hee's vnqualited with very fhame.
F2: He is unqualited with very fhame.
Antony 111.xi.44
Fi: Helpe me my women: Oh hee's more mad
F2: Helpe me my woman: Oh he is more mad
Antony iv.xiii.i
Fi: To be but nam'd of thee. His mean'ft Garment
...is dearer
...then all the Heires aboue thee,
F2: To be but nam'd of thee. His meaneft Garment
Cymbeline 11.iii.133
Fi: He bereueng'd:
His mean'ft Garment? Well.
F2: His meaneft Garment? Well.
Cymbeline 11.iii.156
Fi: He thither: What thing is't, that I neuer
Did fee man dye,...
F2: He thither: what thing is it, that I never
Cymbeline 1v.iv.35
122 CHANGES IN THE SECOND FOLIO •
Fi: That could Hand vp his paralell?
Or fruitfull obiect bee?
In eye of Imogen, that befl could deeme
his dignitie.
F2: In eye of Imogen, that befl
could deeme his dignity.
Cymbeline v.iv.56-7
Fi: Thy Chriflall window ope; looke,
looke out, no longer exercife
F2: Thy Chriflall window ope; looke out
no longer exercife
Cymheline v.iv.81
B. Prose is arranged as verse.
Labon/s v.ii.14-8, printed as 4 lines of prose in Fi, is divided
into five lines of verse.
Troilus v.ii.50-1, printed as 2 lines of prose in Fi, is divided into
two lines of verse.
IV. Grammar
A. Inconsistencies are corrected.
I. Tense and/or mood of verbs.
Fi: He came, See, and o-|uercame:
F2: He came, Saw, and o-|vercame:
Labour's iv.i.67
Fi: That the Loiter Jlcke to death,
Wifh himfelfe the heaiiens breath.
F2: Wifh'd himfelfe the heavens breath.
Labour's iv.iii.104
Fi: The fkies, the fountaines, euery region neere,
Seeme all one mutuall cry. I neuer heard
So muficall a difcord, fuch fweet thunder.
F2: Seem'd all one mutuall cry. I never heard
Dream i\'.i.ii4
Fi: if a Chriftian doe not play the | knaue and get thee, I
am much deceiued;
F2: if a Chriftian did not play the | knave...
Merchant ii.iii.ii
Fi: Peraduenture this is not Fortunes work neither, | but
Natures, who perceiueth our naturall wits too dull | to reafon of
fuch goddeffes, hath fent this Naturall for | our whetftone.
ADOPTED: GRAMMAR: A 123
F2: ...who perceiving our naturall wits too dull | ...
As You Like It i.ii.48
Fi: I came, faw, | and ouercome.
F2: I came, faw, | and overcame.
As You Like It v. ii. 29-30
Fi: Or what hath this bold enterprize bring forth,
F2: Or what hath this bold enterprize brought forth,
2 Henry I V i.i.178
Fi: I would the Milke
Thy mother gaue thee when thou fuck'ft her breft,
F2: Thy mother gave thee when thou fuck'dft her breft,
/ Henry VI v.iv.28
Fi: King Ed. But whether fhall we then?
Haft. To Lyn my Lord,
And fhipt from thence to Flanders.
F2: And fhip from thence to Flanders.
3 Henry VI iv.v.21
Fi: Rich. Villaines fet downe the Coarfe,...
Gen. My Lord fland backe, and let the Cofhn paffe.
Rich. Vnmanner'd Dogge,
Stand'ft thou when I commaund:
F2: Stand thou when I commaund:
Richard III i.ii.39
Fi: goe and tell him,
We came to fpeake with him;
F2: We come to fpeake with him;
Troilus Ii.iii.ii8
Fi: My thoughts were like vnbrideled children grow
Too head-ftrong for their mother:...
F2: My thoughts were like unbrideled children, growne
Troilus Iii.ii.119
Fi: wee'l beate them to their Wiues,
As they vs to our Trenches followes.
F2: As they us to our Trenches followed.
Coriolanus i.iv.42
Fi: Tim. You make me meruell wherefore ere this time
Had you not fully laide my ftate before me,...
Stew. You would not heare me:
At many leyfures I propofe.
F2: At many leyfures I propof'd.
Timon ii.ii.129
124 CHANGES IN THE SECOND FOLIO
Fi: Thou gau'll thine eares (Hke Tapfters, that bad welcom)
To Knaues, and all approachers:
F2: Thou gav'fl thine eares (like Tapfters, that bid welcome)
Timon 1v.iii.214
Fi: Time with his fairer hand,
Offering the Fortunes of his former dayes,
The former man may make him: bring vs to him
And chanc'd it as it may.
F2: And chanc'e it as it may,
Timon v.i.124
[See p. 19.]
Fi: Horffes do neigh, and dying men did grone,
F2: Horfes did neigh, and dying men did grone,
Caesar 11.ii.23
Fi: And carriage of the Article defigne,
F2: And carriage of the Article defign'd,
Hamlet i.i.94
Fi: Whorfon dog: I gaue him fatisfaction? would | he had
bin one of my Ranke.
F2: Whorfon dog: I give him fatisfaction?...
Cymheline ii.i.14
2. Number of verbs.
[We omit thirty-seven examples of changes from singular to plural or plural to
singular, all adopted by most modern editors, printed by Professor Smith in Englische
Studien (xxx.7-17, 1902).*]
Fi: But who come here?
F2: But who comes here?
As You Like It 11.vii.87
Fi: Oh fir, the loathfomneffe of them offend mee,
F2: Oh fir, the loathfomneffe of them offends mee.
Winter's Tale 1v.iii.53
Fi: Talb. ...Englifh lohn Talbot (Captaines) call you forth,
F2: Talb. ...Englifh lohn Talbot (Captaines) calls you forth,
I Henry VI iv.ii.3
Fi : While he renowned Noble Gentleman
Yeeld vp his life vnto a world of oddes.
F2: Yeelds up his life unto a world of oddes.
/ Henry VI iv.iv.25
* Professor Smith lists a change of call to calls in Henry V n1.ii.102. We do not find
calls in any copy of F2 which we have seen.
ADOPTED: GRAMMAR: A 125
Fi : 'Tis loue I beare thy glories make me fpeake :
F2: Tis love I beare thy glories makes me fpeake;
J Henry VI ii.i.158
Fi: Thus ftand the cafe: you know our King, my Brother,
F2: Thus ftands the cafe: you know our King, my Brother,
J Henry VI iv.v.4
Fi: Come hunting this way to difport himfelfe.
F2: Comes hunting this way to difport himfelfe.
J Henry VI iv.v.8
Fi: The ftill and mentall parts.
That do contriue how many hands fhall ftrike
When fitneffe call them on, and know by meafure
...the Enemies waight,
F2: When fitneffe calls them on, and know by meafure
Troiliis i.iii.202
Fi: Where they are extended: who like an arch reuerb'rate
The voyce againe;
F2: Where they are extended: who like an arch reverb'rates
Troilus 1n.iii.120
Fi: The prouidence that's in a watchfull State,...
Doe thoughts vnuaile in their dumbe cradles:
F2: Does thoughts unvaile in their dumbe cradles:
Troilus Ii1.iii.200
Fi: What euer haue bin thought one in this State
F2: What ever hath bin thought one in this State
Coriolanus i.ii.4
Fi : the Minifters
That doth diftribute it.
F2: That doe diftribute it.
Coriolanus iii.iii.ioo
Fi: And I haue horfe will follow where the game
Makes way, and runnes likes Swallowes ore the plaine
F2: Makes away, and runne like Swallowes ore the plaine
Titus Ii.ii.24
Fx : Contempt and beggery hangs vpon thy backei
F2 : Contempt and beggery hang on thy backe !
Romeo v.i.71
Fi : fweete Inftruments | hung vp in Cases, that keepes there
founds to them-lfelues.
126 CHANGES IN THE SECOND FOLIO
F2: fweet Inftruments | hung up in Cases, that keepe their
founds to themfelves.
Timon i.ii.94
Fi: What needs thefe Feafts, pompes, and Vaine-glories?
F2: What neede thefe Feafts, pompes, and Vaine-glories?
Timon i.ii.245
Fi: the walls is thine:
F2: the walls are thine:
Fi: Is there not Charmes,
F2: Are there not charmes,
Lear v.iii.77
Othello i.i.172
Fi : when I wafh my braine, and it grow fouler.
F2: when I wafh my braine, and it growes fouler.
Antony 11.vii.g7-8
Fi : fcald Rimers
Ballads vs out a Tune.
F2: Ballad us out a Tune.
Antony v.ii.215
Fi: She looke vs like
A thing more made of malice, then of duty,
Fg: She lookes as like
Cymheline in. v. 3 2
Exit is correctly changed to Exeunt at Much Ado 111.ii.121, Dream
III. i. 95, As You Like It 11.iv.40, v. Epil. 20, AlVs Well 11. i. 209,
Henry Fii.ii.i8i, 111.iv.57, iv.i.221, 2 Henry F/ i.i.69, j Henry VI
i.iv.i8o, Timon 1v.iii.456, Caspar iii.ii. 260, Macbeth 111.iv.121, Ham-
let iii.ii.44, Antony ii.ii.174, iii.vii.66, iv.xiv.140, Cymbeline i.v.3;
Exeunt to Exit at Gentlemen 11.iv.210, 1v.iv.201, Hamlet iv.v.196;
Cymheline v.iv.205.
Manet is correctly changed to Manefit at i Henry VI iii.iv.22,
2 Henry VI i.i.69, j Henry VI iv.vi.88, Richard III 11.ii.145,
III. i. 150, iii.iv.8i, Troilus i.iii.309, Coriolanus i.i.249, v.ii.90, Caesar
iv.iii.i, Antony Ii.ii.174.
3. Person.
[We do not reprint ten examples listed by Professor Smith (iil supra, pp. 18-20).]
Fi: Ah my fowre hufband, my hard-hearted Lord,
That fet's the word it felfe, againft the word.
F2: That fet'ft the word it felfe, againft the word.
Richard II v.iii.122
ADOPTED: GRAMMAR: A 127
Fi: The Ooze, to fhew what Coafl thy fluggifh care
Might' ft eafileft harbour in.
F2: Might eafileft harbour in.
Cymbeline 1v.ii.207
[In the following, the change is from one form of the second person to another.
Professor Smith {ut supra, pp. 19-20) lists two more of these.]
Fi: Which any print of goodneffe wilt not take,
Fa : Which any print of goodneffe will not take.
Tempest i.ii.352
Fi: I am fure you art not prifoner.
F2: I am fure you are not prifoner.
As You Like It 111.ii.344
Fi: thou fhall finde what it is to be | proud of thy bondage,
F2: thou fhalt finde what it is to be j proud of thy bondage,
AlVs Well 11.iii.221
Fi: And thou that fmil'dfl at good Duke Humfries death,
Againft the fenfeleffe windes fhall grin in vaine,
F2: Againft the fenfeleffe windes fhalt grin in vaine,
2 Henry VI iv.i.77
Fi: O Judgement! thou are fled to brutifh Beafts,
F2: O Judgement! thou art fied to brutifh Beafts,
Caesar 11r.ii.104
4. Number of nouns and pronouns.
[We omit six examples listed by Professor Smith {ut supra, pp. 7-13).]
Fi: Sir Protheus, your Fathers call's for you,
F2: Sir Protheus, your Father call's for you.
Gentlemen i.iii.88
Fi: Run with thefe falfe, and moft contrarious Queft
F2: Runne with thefe falfe, and moft contrarious Quefts
Measure iv.i.6o
Fi: Is there any fhips puts forth to night?
F2: Is there any fhip puts forth to night?
Errors iv.iii.32
Fi : Tell me whereon the likelihoods depends?
F2: Tell me whereon the likelihood depends?
As You Like It i.iii.53
Fi: Our old Lings, and our Isbels a'th Country, are nothing \
like your old Ling and your Isbels a'th Court.-
F2: Our I old Ling and our Isbels a'th Country, are...
All's Well 111.ii.13
him:
128 CHANGES IN THE SECOND FOLIO
Fi: it is his grounds of faith, that all | that looke on him, loue
F2: it is his ground of faith,...
Twelfth Night 11.iii.141
Fi: And thefe externall manner of Laments,
F2: And thefe externall manners of Laments,
Richard II iv.i.296
Fi: With many Holiday and Lady tearme
F2: With many holidy and Lady tearmes
I Henry IV i.iii.46
Fi: So we be rid of them, do with him what y wilt.
F2: So we be rid of them, do with them what y wilt.
1 Henry VI 1v.vii.94
Fi: Or thou, or I Somerfet will be Protectors,
^"2: Or thou, or I Somerfet will be Protector,
2 Henry VI i.i.173
Fi: What plaine proceedings is more plain then this?
F2: What plaine proceeding is more plaine then this?
2 Henry VI 1i.ii.53
Fi: Fye on Ambitions:
F2: Fye on Ambition:
2 Henry VI iv.x.i
Fi: Force fhould be right, or rather, right and wrong,...
Should loofe her names, and fo fhould luftice too.
Fo: Should loofe their names, and fo fhould juftice too.
Troilus i.iii.118
Fi: His legge are legs for neceffitie, not for flight.
F2: His legges are legges for neceffity, not for flight,
Troilus 11.iii.102
Fi: To choake it in the vtt'rance: So our Vertue,
Lie in th'interpretation of the time,
F2: To choake it in the utt'rance: So our Vertues,
Coriolaniis iv.vii.49
Fi: And fet them vpright at their deere Friends doore,
F2: And fet them up right at their deere Friends doores,
Titus v.i.136
Fi: Euen on their knees and hand, let him fit downe,
F2: Even on their knees and hands, let him fit downe,
Timon i.i.90
ADOPTED: GRAMMAR: A 129
Fi: He pawne my Victories, all my Honour to you
Vpon his good returnes.
F2: He pawne my Victories, all my honours to you
Timon in. v. 81
Fi: Pain. He, and my felfe
Haue trauail'd in the great fhowre of your guifts,
And fweetly felt it.
Timon. I, you are honeft man.
F2: Timon. I, you are honeft men.
Timon v.i.69
Fi: Shall this our lofty Scene be acted ouer.
In State vnborne, and Accents yet vnknowne?
F2: In States unborne, and Accents yet unknowne?
Caesar iii.i.114
Fi: thefe Son in Lawes,
F2: thefe Sonnes in Lawes:
Lear 1v.vi.187
Fi: Shall finde there a man, who is th'abftracts of all faults,
F2: Shall finde there a man, who is th'abftract of all faults;
Antony i.iv.8-9
Fi: Her Gentlewoman, like the Nereides,
F2: Her Gentlewomen, like the Nereides,
Ajitony 11.ii.210
Fi: but moft miferable
Is the defires that's glorious.
F2: Is the defire thats glorious.
Cymbeline i.vi.y
Fi: His Garments? Now the diuell.
F2: His Garment? Now the divell.
Cymbeline 11.iii.137
[To conform with 11. 133, 139, 150, 156.]
Fi: In thefe fear'd hope
I barely gratifie your loue;
F2: In thefe fear'd hopes
Cymbeline ii.iv.6
5. Case.
[We omit one example listed by Professor Smith (w/ supra, p. 6).]
Fi: whom three howres fmce
Were wrackt vpon this fhore?
130 CHANGES IN THE SECOND FOLIO
F2: who three howres fince
Tempest v.i.136
Fi: Therefore know thee, for this I entertaine thee.
F2: Therefore know thou, for this I entertaine hee.
Gentlemen iv.iv.66
Fi: Who I made Lord of me, and all I had,
F2: Whom I made Lord of me, and all I had.
Errors v.i.137
Fi: One, who the muficke of his owne vaine tongue,
Doth rauifh
F2: One, whom the muficke of his owne vaine tongue,
Labour's i.i.164
Fi: Confider who the King your father fends:
F2: Confider whom the King your Father fends:
Labour's 11. i. 2
Fi : And one, who much I honour.
F2: And one, whom much I honour.
Winter s Tale ii.ii.6
Fi: Before this ancient Sir, whom (it fhould feeme)
Hath fometime lou'd:
F2: Before this ancient Sir, who (it fhould feeme)
Winter's Tale 1v.iv.353
Fi : whom of force mufl know
The royall Foole thou coap'll with.
F2: who of force muft know
Winter's Tale iv.iv.415
Fi: With her, who heere I cannot hold on fhore:
F2: With her, whom here I cannot hold on fhore:
Winter's Tale 1v.iv.491
Fi: To who, my Lord?
F2: To whom my Lord?
J Henry VI n1.ii.112
Fi: To who in all this prefence fpeaks your Grace?
F2: To whom in all this prefence fpeakes your Grace?
Richard III i.iii.54
Fi: Clarejice, who I indeede haue caft in darkneffe,
F2: Clarence, whom I indeede have caft in darkneffe,
Richard III i.iii.327
ADOPTED: GRAMMAR: A 131
Fi: For God fake let not vs two (lay at home:
F2: For Gods fake let not us two ftay at home:
Richard III ii.n. 1 4y
Fi: Dighton and Forrejl, who I did fuborne
F2: Dighton and Forrejl, whom I did fuborne
Richard III iv.iii.4
Fi: (Whom if he Hue, will fcarfe be Gentlemen)
F2: (Who if he live, will fcarfe be Gentlemen)
Henry VIII 11i.ii.292
Fi: Yes, 'tis moft meet; who may you elfe oppofe
F2: Yes, 'tis mofl meet; whom may you elfe oppofe
Troilus I. iii. 333
Fi: Who mufl we anfwer?
F2: Whom muft v/e anfwer?
Fi : Who wouldft thou ferue?-*
Fo: Whom wouldft thou ferve?
Fi: To who my Lord?
F2: To whom my Lord?
Troilus IV.V.176
Lear i.iv.24
Lear v. iii. 248
Fi: Who, let vs not therefore blame;
F2: Whom, let us not therefore blame;
Othello 11.iii.15
Fi: A?it. Fye wrangling Queene:
Whom euery thing becomes, to chide, to laugh.
To weepe : who euery paffion fully ftriues
To make it felfe (in Thee) faire, and admir'd.
F2: To weepe: whole every paffion fully ftrives
Antony i.i.50
Fi: So do's it no mans elfe.
F2: So do's it no man elfe.
Antony i.v.6i
Fi: Oh Anthony, you haue my Father houfe.
F2: Oh Anthony, you have my Fathers houfe.
Antony ii.vii.125-6
Fi: Halfe all men hearts are his.
F2: Halfe all mens hearts are his.
Cymheline i.vi.167
132 CHANGES IN THE SECOND FOLIO
F"i: Who worfe then a Phyfitian
Would this report become?
F2: Whom worfe then a Phyfitian
Cymheline v. v. 27
6. Gender.
Fi: Pro. I Hkewife heare that Valentine is dead.
Sil. And fo fuppofe am I ; for in her graue
Affure thy felfe, my loue is buried.
F2 : Sil. And fo fuppofe am I ; for in his grave
Gentlemen 1v.ii.109
Fi: Quee. [to ladies]. ..But while 'tis fpoke, each turne away
his face.
F2: Prin. ...But while 'tis fpoke, each turne away her face.
Labour s v.ii.148 '
Fi: So doth the Swan her downie Signets faue,
Keeping them prifoner vnderneath his wings:
F2: Keeping them prifoner underneath hir wings:
I Henry VI v.iii.57
Fi: I hate the Moore,
And it is thought abroad, that 'twixt my fheets
She ha's done my Office.
F2: He ha's done my Office.
Othello i.iii.382
7. Inflected endings of adjectives and adverbs.
Fi : Widow goe you along : Lords vfe her honourable.
F2: Widow goe you along: Lords ufe her honourably
3 Henry VI 111.ii.123
Fi: Blinde feare, that feeing reafon leads, findes fafe | foot-
ing, then blinde reafon, flumbling without feare:
F2: ...findes fafer | footing,...
Troilus iii.ii.68
B. Omitted words necessary to completeness of sentence structure
are inserted.
Fi: You conclude that my Mafter is a Shepheard then, | and
I Sheepe?
F2: ... I and I a fheepe?
Gentlemen i.i.76
Fi : What, haue fcap'd Loue-letters in the | holly-day-time
of my beauty, and am I now a fubiect | for them?
ADOPTED: GRAMMAR: B 133
F2: What, have I fcap'd...
Merry Wives ii.i.i
Fi: Hang him difhonefl Varlet,
We cannot mifufe enough :
F2: We cannot mifufe him enough:
Merry Wives iv.ii.89
Fi: Arig. ... either you are ignorant,
Or feeme fo crafty; and that's not good.
Ifah. Let be ignorant, and in nothing good,
F2: Ifab. Let me be ignorant, and in nothing good.
Measure 11.iv.76
Fi: Mafter, if do expect fpoon-meate, or befpeake | a long
fpoone.
F2: Mafter, if you doe, expect fpoon-meate,...
Errors iv.iii.55
Fi : fometime through : nofe as if you | fnuft vp loue by fmell-
ing loue
F2: fometime through the nofe,...
Labour's ni.i.14
Fi: And his Page atother fide, that handfull of wit,
Ah heauens, it is moft patheticall nit.
F2: Ah heavens, it is a moft patheticall nit.
Labour's iv.i.141
Fi : the oath of Louer is no | ftronger then the word of a
Tapfler,
F2: the oath of a Lover...
As You Like It 111.iv.27
Fi: let me better acquainted | with thee.
F2: let me be better acquainted | with thee.
As You Like It iv.i.i
Fi: and fo ro lye circumftantiall,
F2: and fo to the lie circumftantiall,
As You Like It v.iv.77
Fi: Of all thy futors heere I charge tel
Whom thou lou'ft beft:
F2: Of all thy futers heere I charge thee tell
Shrew 11. i. 8
Fi: Haue to my Widdow, and if fhe froward.
Then haft thou taught Hortentio to be vntoward.
134 CHANGES IN THE SECOND FOLIO
F2: Have to my Widdow, and if fhe be froward,
Shrew iv.v.77
Fi: Wherein haue you played | the knaue with fortune that
fhe fhould fcratch you, who | of her felfe is a good Lady, and would
not haue knaues | thriue long vnder?
F2: ...knaves thriue | long under her?
Alls Well v.ii.31
Fi: Well, then that the humor oft.
F2: Well, then that's the humor oft.
Henry V ii.i.113
Fi: My Lord of Cambridge heere.
You know how apt our loue was, to accord
To furnifh with all appertinents
Belonging to his Honour;
F2: To furnifh him with all appertinents
Henry V 11.ii.87
Fi: He layes his brejl open, Jlie offers at with his Jivord.
F2: ...ffie offers at it ivith his /word.
Richard III i.ii.179
Fi: Ah fo much intereft haue in thy forrow.
As I had Title in thy Noble Husband:
F2: Ah, fo much interell have I in thy forrow,
Richard III ii.ii.47
Fi: His feares were that the Interview betwixt
England and France, might through their amity
Breed him fome preiudice; for from this League,
Peep'd harmes that menac'd him. Priuily
Deales with our Cardinal, and as I troa
Which I doe well; for I am fure the Emperour
Paid ere he promis'd,
F2: Peep'd harmes that menac'd him. He Privily
Henry VIII i.i.183
Fi: Harke Greek: as much I doe Creffida loue;
So much by weight, hate I her Diomed,
F2: Hearke Greek: as much as I doe Creffida love;
Troilus v.ii.165
Fi : forth he goes
Like to a Haruefl man, that task'd to mowe
Or all, or loofe his hyre.
F2: Like to a Harvefl man, thats task'd to mowe
Coriolanus i.iii.36
ADOPTED: GRAMMAR: B 135
Fi : Now fellow, what there?
F2: Now fellow, whats there?
Romeo 1v.iv.14
Fi: So it may proue an Argument of Laughter
To th'refl, and 'mong'ft Lords be thought a Foole:
F2: To th'refl, and 'mongft Lords I be thought a Foole:
Timon iii.iii.21
Fi : Cure of that:
Can'ft thou not Minifter to a minde difeas'd,
F2: Cure her of that:
Macbeth v.iii.39
Fi: Now by Sword.
F2: Now by my Sword.
Antony i.iii.82
Fi: Thy Daemon that thy fpirit which keepes thee, is
Noble, Couragious, high vnmatchable,
F2: Thy Daemon (that's thy fpirit which keepes thee) is
Antony ii.iii.20
Fi: We fhall: as I conceiue the iourney, be at | Mount before
you Lepidns.
F2: ...be at the | Mount...
Antony ii.iv.6
Fi: Did you heere of a Stranger that's come to Court | night?
F2: Did you heare of a Stranger thats come to Court to |
night?
Cymheline 11. i. 3 1-2
Fi: Who knowes if one her women, being corrupted
Hath ftolne it from her.
F2: Who knowes if one of her women, being corrupted
Cymheline Ii.iv.ii6
Fi: this her Bracelet
(Oh cunning how I got) nay fome markes
Of fecret on her perfon,
F2: (Oh cunning how I got it) nay fome markes
Cymheline v. v. 205
V. Style
A. The current is substituted for an obsolescent, archaic, or in-
elegant word or form.
Bnaket to Banquet {Titus iii.ii.i s.d.)
ceafe to feize {Antony iii.xi.47)
136 CHANGES IN THE SECOND FOLIO
Cur fie to Curtfie (j Ileriry VI 111.ii.57)
Fift to Fifth {Henry V running titles 8 times)
leading of to leading {Titus v.i.20 s.d.)
monging to mongring {Much Ado v.i.94)
reuerent /o reverend {Henry VIII ill. i. 26)
Shoote to Showte {Labour s iv.i.142 s.d.)
fhrow'd (fhrowdly) to fhrew'd (fhrewdly) {Shrew i.ii.88, Henry V
lil.vii.148, Troilns i.ii.206, iil.iii.228)
Sixt to Sixth (/ Henry VI running titles 9 times; 2 Henry VI
running titles 13 times; j Henry VI 17 times)
fometime to fometimes {Tempest i.ii.198)
found to fwound {Labour's v.ii.392)
ftrook to flruck {Hamlet i.i.7)
Suppeago to Sarpego {Troilns Ii.iii.70)
wadg'd to wedg'd {Coriolaniis 11.iii.27)
whatfomere to whatfoere {Antony 11.vi.97)
whether to whither (passim)
winch to wince {John iv.i.81)
B. Synonyms, equivalent idioms, and alternate forms of the same
word are substituted.
Fi : no farther trufl her :
F2: no further trufl her:
Winter's Tale ii.i.136
Fi: like a honeft plain dea-|ling man?
F2: like an honeft plain | dealing man?
2 Henry VI iv.ii.96
C. In one speech, the spelling of a word is altered to indicate the
pronunciation of a character speaking broken English.
Fi: -Ewfan^]. ...your belly is al | putter.
F2: Evans. ...your pelly is all | putter.
Merry Wives v.v.136
[See p. 48.]
D, The order of words is altered.
[See p. 47-]
Fi: It is mine, or Valentines praife?
F2: Is it mine then, or Valentineans praife?
Gentlemen n.iv.192
Fi: I had liefe as beare fo much lead.
Fg: I had as leife beare fo much Lead.
Merry Wives 1v.ii.99
ADOPTED: STYLE: D 137
Fi: now goe in we content
F2: now goe we in content
As Yoii Like It i.iii.133
Fi : as much newes as | wilt thou.
F2: as much newes as | thou wilt.
Shrew iv.i.36-7
Fi: Why I haue patience to endure all this?
F2: Why have I patience to endure all this?
Titus ii.iii.88
E. Words and phrases from foreign languages are corrected.
ISee p. 48,]
Fi: Facile precor gellida, quando pecas omnia fub vm-\bra
ruminat,
F2: Faujte precor gelida, quando, pecus omne fub vm-\bra,
ruminat,
Labour's iv.ii. 89-90
Fi : Redime te captam quam queas minima.
F2: Redime te captum quam queas minimo.
Shreiv i.i.157
Fi: Alia nojlra cafa bene venuto multo honorata Jigni-\or
mio Petrucliio.
F2: Alia 7ioJlra cafa ben venuto multo honor ato fignior...
Shrew i.ii.25
Fi : hie eft figeria tellus,
F2: hie eft figeia tellus,
Shrew iii.i.28, 32, 41
Fi: In terram Salicam Mulieres ?ie fuccedaul,
F2: In terram Salicam Mulieres ne fuccedant,
Henry V i.ii.38
Fi: le men fay le repiticio de touts les mots \ que vous
moves, apprins des a prefent.
F2: le me'n faitz la repetition de tous les mots | que vous
m'avez apprins des aprefent.
Henry V iii.iv.22-3
Fi : Mort du ma vie,
F2 : Mort de ma vie,
Henry V ill. v. 11
Fi : Pine gelidus tinior occupat artus,
F2 : Gelidus timor occupat artus,
2 Henry VI iv.i.117
138 CHANGES IN THE SECOND FOLIO
Fi : La fin Corrone les eumenes.
F2 : La fin Corronne les oevres.
2 Henry VI v.ii.28
Fi: Suum cuiquam, is our Romane luflice,
F2: Suum cuique, is our Romane luflice,
Titus i.i.280
Fi: Integer vitaz fcelerifque purus, non egit maury iaculis nee
ar-\cus.
F2: ...jaculis nee ar-\cu.
Titus 1v.ii.21
Fi : The Antropophague, and men whofe heads
Grew beneath their fhoulders.
F2: The Anthropophagi, and men whofe heads
Othello i.iii.144
Small corrections of the spelling of Latin and Italian words are
made at Labour's iv.i.67, v.i.30, Shrew i.ii.278, ii.i.73, iii.i.42, iv.
iv.90, Twelfth Night 11. v. 176, Winter s Tale 1v.iv.776, 2 Henry IV
V.V.28, Troilus V.V.9, Titus i.i.23, Timon 1v.iii.52, Antony 111.vi.28.
In F2 the spelling Scsena is uniformly used in scene-headings for
the Scoena, Sccena, and Scena of Fi.
F. The spelling of proper names is corrected.
[These lists are not complete; we quote only the most striking changes and some
others which may be considered characteristic. For the corrected spelling of a char-
acter in one of the plays, there is usually precedent elsewhere in the text. See p. 48.]
1. Historical and mythological personages, etc.
Saint Albones to Saint Albon (2 Henry VI 11. i. 108)
Barbarie to Barbara {Othello iv.iii.25, 32)
Caffibulan to Caffibelan (Cymbeline i.i.30, iii.i.5, 30, 39-40)
Epton, Hiperio to Hiperion {Titus v.ii.56, Henry V iv.i.271)
Th' Earledome of Hertford to Hereford {Richard III 1v.ii.94)
Paufa to Panfa {Antony i.iv.58)
Roffms to Rofcius {Hamlet 11.ii.387)
Semeramis to Semiramis {Titus ii.iii.ii8)
Zentippe to Zantippe {Shrew i.ii.69)
2. Geographical names.
Acaron to Acheron {Titus 1v.iii.44)
Brandufmm to Brundufmm {Antony 111.vii.21)
Birnane {Macbeth v.iv.3), Byrnan {ib. iv.i.98), Byrnane {ib,
v.iii.2, V.V.34, 44) to Byrnam*
* Byrnan is once allowed to stand (v.ii.5); Birnani is substituted for Birnan at
v.ii.3i and for Birnane at v.iii.6o.
ADOPTED: STYLE: F 139
Chartam to Chattam (2 Henry VI 1v.ii.79)
Ceftos to Seflos {As You Like It iv.i.93)
Cicelie to Sicily (Antony 11.vi.35)
Epidarus to Epidaurus (Errors i.i.93)
Erobus to Erebus (Merchant v.i.87)
Lethee to Lethe (Caesar iii.i.207)
Licoania to Lycaonia (Antony 111.vi.75)
Louer to Loover [i.e. Louvre] (Henry V 11.iv.132)
Marcellus, Marcellse to Marfellis (Shrew 11. i. 367, AlVs Well iv.iv.9,
IV.V,72)
Nauar to Navarre (Labour's i.i.12)
Ocitus to Cocitus (Titus 11.iii.236)
Perennean to Pyrennean (John i.i.203)
PhcEnetia to Phoenicia (Antony Iil.vi.i6)
Rauenfpurre to Ravenfpurgh (3 Henry VI iv.vii.8)
Sidnis, Sidnus to Cydnus, Cidnus (Antony ii.ii.190-1, Cymheline
11.iv.71)
Troine to Toryne (Antony 111.vii.23)
3. Characters in the plays.
Alexias to Alexas (Antony i.ii.82)
Armatho, Armathor to Armado (Labour's iv.i.80, 137)
Artimedorus to Artemidorus (Caesar iii.i.i s.d.)
Beroune (Labour's 11. i. 207, 214), Berown (ib. 1v.iii.199, 280),
Berowne (ib. 26 times) to Birone
Berowne to Biron (Labour's i.i seven times)*
Cleopater to Cleopatra (Antony 11.ii.124, 221, 11. v. i s.d.)
Deiphoebus to Deiphobus (Troilus v.x.i s.d.)
Dollabello to Dollabella (Antony iii.xii.i s.d.)
Dumain (All's Well 1v.iii.263), Dumane (Labour's i.i.i s.d., 28,
II. i. 193 s.d., 1v.iii.97) to Dumainef
Gneius to Cneius (Antony Iii.xiii.ii8)
(Monsieur) the Beu, le Beau to Le Beu (As You Like It i.ii.83,
88 s.d.)
Litio to Licio (Shrew ii.i.6o)
Menes to Menas (Antony 11.vii.17 s.d.,
Phrinica to Phrinia (Timon v.i.5)
Rofignoll to Rofillion (All's Well i.ii.18)
Scarrus to Scarus (Antony iii.x.4 s.d., iv.viii.i s.d., iv.x.i s.d.,
iv.xii.i s.d.)
Timandylo to Timandra (Timon v.i.6)
Ventigius to Ventidius (Antony 11.iii.32, 41, 41 s.d.)
* Berowne is allowed to stand four times. See pp. 48 f.
t Otherwise Dumaine in Fi (nine times in Labour's and three in All's Well).
140 CHANGES IN THE SECOND FOLIO
G. The rime is restored in defective riming passages.
Fi: Adr. Looke when I feme him fo, he takes it thus.
Lhc. Oh, know he is the bridle of your will.
F2: Adr. Looke when I ferve him fo, he takes it ill.
Errors ii.i.12
Fi: Then gentle brother get you in againe;
Comfort my fifter, cheere her, call her wife;
'Tis holy fport to be a little vaine.
When the fweet breath of flatterie conquers ftrife.
Fo: Comfort my filler, cheere her, call her wife;
Errors 1ii.ii.26
Fi: And though I haue for barbarifme fpoke more.
Then for that Angell knowledge you can fay,
Yet confident He keepe what I haue fworne,
And bide the pennance of each three yeares day.
F2: Yet confident He keepe what I have fwore,
Labour's i.i.114
Fi: The bloud of youth burns not with fuch exceffe,
As grauities reuolt to wantons be.
F2: As gravities revolt to wantoneffe.
Labour's v.ii.74
H. Obvious typographical errors are corrected.
[The following specimens of typographical errors, contrary to our usual practice,
are classified according to the kind of mistake in which they probably originated
rather than according to their effect. The classification below, therefore, refers to
the errors of the compositors of Fi (or, sometimes, of a previous quarto) and not,
as usual, to the changes made by the editor of F2. We do so to afford the reader a
comparison with the unobtrusive typographical errors which are discussed above
(pp. 7 ff.). The mistakes listed here and those Instanced above are of exactly the
same kinds: the difference between them is that these make nonsense of the text and
the unobtrusive errors happen to make sense, or a kind of sense, at least. Any reader
who may feel doubtful that the kinds of changes which we call unobtrusive errors
are the result of printers' blunders may observe exactly the same sort of thing
happening here and making such changes in the text as nobody could possibly think
of making deliberately.
The typographical errors In Fi are a little more difficult to assign correctly to their
origin than those found in F2, which we know was set up by a compositor with a
copy of Fi before his eyes. Very likely some of the misprints below originated in a
misreading of the hand In which the copy was written; e.g., heard for hear, which we
classify as an example of the substitution of a word of similar sense, may have hap-
pened because heare, written in a sixteenth-century English hand, looked very much
like heard.
Naturally, obvious typographical errors are numerous in Fi; we print only a few
specimens of those corrected in F2, which caught most of them, while adding, of
course, many new ones.]
ADOPTED: STYLE: H 141
Mechanical errors.
a. Turned letters.
Fi: Our Abbies and our Priories fhall pay
This expeditious charge:
F2: This expeditions charge.
John i.i.49
Fi: And proof es as cleere as Founts in Inly,
F2: And proofes as cleere as Founts in luly,
Henry VIII i.i.154
Fi: A Curfe begin at very root on's heart,
That is not glad to fee thee.
Yon are three, that Rome fhould dote on:
F2: You are three, that Rome fhould dote on:
Coriola7ius ii.i.177
Fi : a I moft feftiuate preparation :
F2 : a I moft f eftinate preparation :
Lear iii.vii.9
Antony ii.vii.4
Fi: Lepidus is high Conlord.
F2: Lepidus is high colourd.
[See also Shrew i.i.202.]
Fi: like a Cow in Inne,
F2: like a Cow in lune,
Antony iii.x.14
b. Errors due to foul case or muscular inaccuracy.
Fi: and w | will doe
F2: and I will doe
AWs Well i.iii.19
Fi: What? is thy Soule of Odoration?
F2: What? is thy Soule of Adoration?
Henry V iv.i.241
Fi: my Arrowes...
Would haue reuerted to my Bow againe.
And not where I had arm'd them.
F2: And not where I had aym'd them. (Qq)
Hamlet 1v.vii.24
Fi: So tender of rebukes, that words are ftroke;,
F2: So tender of rebukes, that words are ftrokes,
Cymbeline iii.v.40
142 CHANGES IN THE SECOND FOLIO
2. Errors of vision.
Fi: Well, fit you out: go home Berowne: adue.
F2: Well, fit you out: goe home Biron: adue. (Qq)
Labour's i.i.iio
Fi: For blufh-in cheekes by faults are bred,
F2: For blufhing cheekes by faults are bred,
Labour's i.ii.97
Fi: Sing Boy, my fpirit grows heauy in ioue.
F2: Sing Boy, my fpirit growes heavy in love. (Qq)
Labour's i.ii.117
Fi: Then will fhee get the vpfhoot by cleaning the | is in. (Qq)
F2: Then will fhe get the upfhoot by cleaving the | Pin.
Labour's iv.i.129
Fi: Whom fonne I dare not call: Thou art too bafe
To be acknowledge.
F2: To be acknowledg'd.
Winter's Tale 1v.iv.411
Fi: Day, night, houre, ride, time, worke, play,
F2: Day, night, houre, tide, time, worke, play, (Qq)
Romeo iii.v.177
Fi : Defend and open your vncharged Ports,
F2: Defcend and open your uncharged Ports,
Timon v.iv.55
Fi: Of Kernes and Gallowgroffes is fupply'd,
F2: Of Kernes and Gallow glaffes is fupply'd,
Macbeth i.ii.13
Fi: halfe breathleffe, painting forth
F2: halfe breathleffe, panting forth (Qq)
Lear 11.iv.30
3. Errors of execution,
a. Omission of letters.
[For the omission of words, see pp. 98 ff., 132 ff., 154 f., etc.]
Fi : For here he doth demand to haue repaie,
F2: For here he doth demand to have repaid, (Qi)
Labour's 11. i. 142
Fi : This grizy beaft
F2: This grizly beaft (Qq)
Dream v.i.138
ADOPTED: STYLE: H 143
Fi: but in | all places elfe, you mailer Lucentio.
F2: but in I all places elfe, your maifter Lucentio.
Shrew i.i.238
Fi: fhould | bee once hard, and thrice beaten.
F2: fhould be once | heard,...
AlVs Well 11.V.30
b. Transposition of letters and words.
Fi: Triano
F2: Tranio
Fi: And Angles offic'd all:
F2: And Angels offic'd all:
Shrew i.i.i s.d.
AlVs Well 111.ii.124
Fi: Why? ho ware we cenfur'd?
F2: Why? how are we cenfur'd?
Coriolanus ii.i.22
Fi : She is too faire, too wifewi : fely too faire,
F2: She is too faire, too wife, wifely too faire, (Qq)
Romeo i.i.219
Fi: but fhe good foule had as leeue a fee Toade,
F2: but fhe good foule had as leeve fee a Toade, (Qq)
Romeo 11.iv.196
Fi: The fir King ha's wag'd with him
F2: The King fir has wag'd with him (Qq)
Hamlet v.ii.140
c. Repetition of letters, syllables, and words.
Fi: no falue, in thee | male fir.
F2: no falve, in the | male fir.
Labour's iii.i.67
Fi: Erreoneous, mutinous, and vnnaturall,
F2: Erroneous, mutinous, and vnnaturall,
J Henry VI 11. v. 90
Fi: I would that I might thanke you, as, as, you | call me.
F2: I would that I might thanke you, asyou call | me. (Qq)
Richard III iii.i.123
Fi: the match and waight
Of fuch a winnowed puriritie in loue :
F2 : Of fuch a winnowed puritie in love : (Q)
Troilus 111.ii.163
144 CHANGES IN THE SECOND FOLIO
Fi: Down Ladies: let vs fhame him with him with our knees
F2: Down Ladies: let us Ihame him with our knees
Coriolanus v.iii.169
Fi: But me and and mine: how happy art thou then,
F2: But me and mine; how happy art thou then, (Qq)
Titus III. i. 56
Fi: Ho ho, confeft it? Handg'd it? Haue you not?
F2: Ho ho, confeft it? hang'd it? have you not?
Timon i.ii.22
Fi: I will it not haue it fo: Lye downe good firs,
F2: I will not have it fo; Lye downe good firs,
Caesar 1v.iii.248
Fi: there is Paconcies, that's for | Thoughts.
F2: there is Fancies, that's for | Thoughts. (Qq)
Hamlet iv.v. 173
[Difficult to account for, but we fancy the repetition of the c had something to do
with the insertion of the extra syllable.]
Fi : fome o'th'their Plants are ill | rooted
Fo : fome o' their Plants are ill | rooted
Anto7iy ii.vii.i
d. Substitution of a word of similar sound.
Fi: giuing thy fum of more
To that which had too muft:
F2: To that which had too much:
As You Like It ii.i.49
Fi: Know you not Mafter, to feeme kinde of men,
F2: Know you not Mafter, to fome kind of men.
As You Like It ii.iii.io
Fi: If that thy valour ftand on fympathize:
F2: If that thy valour fland on fympathies: (Q4)
Richard II iv.i. 33
Fi: My lips to blufhing Pilgrims did ready fland.
To fmooth that rough touch,
F2: My lips two blufhing Pilgrims ready ftand, (Qq)
Romeo i.v.93
e. Substitution of a word of similar sense.
Fi : Were fhe is as rough
As are the fwelling Adriaticke feas.
ADOPTED: STYLE: H 145
F2: Were fhe as rough
Shrew i.ii.71
[A remarkable confusion: presumably some echo of the meaning of were persisted,
transformed in tense, and perhaps the similarity of as exercised some attractive
influence.]
Fi: Why, is it not newes to heard of Petruchio's comming?
F9: Why, is it not newes to heare of Petruchio's comming?
Shrew iii.ii. 33
Fi: So I does.
F2: So I doe. (Q)
Troilus i.ii.i66
f. Attraction to the form of another word that stands near
by in the text.
[This sometimes takes the form of adding superfluous letters to the word, some-
times that of substituting other letters for a part of it. Errors of this kind are quite
numerous.]
Fi : that foolifhion Carion
F2: that foolifh Carion
Merry Wives 111.iii.170
Fi: A man may breake a word with your fir,
F2: A man may breake a word with you fir.
Errors iii.i.75
Fi : / keeper her \ as a veffell of thy Lawes fiirie,
F2: / keep her as a veffell of \ thy Lawes fury, (Qq)
Labour's i.i.257
Fi: Which of the Vizards what it that you wore?
F2: Which of the Vizards was it that you wore? (Qq)
Labour's v.ii.385
Fi: this gaunted groue?
F2: this haunted grove? (Qq)
Fi : With ftrift to pleafe you,
F2 : With Itrif e to pleafe you,
Fi: Who noyfe there, hoe?
F2: What noyfe there, hoe?
Dream iii.ii.5
AlVs Well Epil. 4
Winter's Tale 11.iii.39
Fi: Think'fl thou, for that I | infmuate, at toaze from thee
thy Bufmeffe, I am there- 1 fore no Courtier?
146 CHANGES IN THE SECOND FOLIO
F2: Think'fl thou, for that I | infinuate, or toaze from thee..
Winter's Tale 1v.iv.724
[Insinuate at.]
Fi: Heere once againe we fit: once againft crown'd
F2: Heere once againe we fit: once againe crown'd
John iv.ii.i
[Once againe/.]
Fi: Haue you a Ruffian that fwill fweare?
F2: Have you a Ruffian that will fweare? (Q)
2 Henry IV iv.v.125
Fi: On, on you Noblifh Engliffi,
F2: On, you Nobleft Engliffi,
Henry V iii.i.17
(Qq)
Fi: Makes way, and runnes likes Swallowes ore the plaine
F2: Makes away, and runne like Swallowes ore the plaine
Titus 11.ii.24
Fi : For 'twas your heauen, ffie fhouldft be aduan'ft,
F2: For 'twas your heaven, that ffie Ihould be advanc't. (Qq)
Romeo iv.v.'j2
Fi: The forlorne Souldier, that no Nobly fought
F2: The forlorne Souldier, that fo Nobly fought
Cymheline v.v.405
g. Substitution of a word present in the context near by.
Fi: as faft as you poure | affection in, in runs out.
F2: as fafl as you poure | affection in, it runs out.
As You Like It iv.i.i88
Fi: Kneel'd and my feet, and bid me be aduis'd?
Fo: Kneel'd at my feet: and bid me be advis'd? (Qq)
Richard III ii.i.107
Fi: No not Hector is not Troylus in fome degrees.
F2: No nor Hector is not Troylus in fome degrees.
Troilus i.ii.67
Fi : Tnllus \ Auffidius well appeare well in thefe Warres,
F2: Tullus I Auffidius will appeare well in thefe Warres,
Coriolanus iv.iii.32
Fi: Few come within few compaffe of my curfe,
F2: Few come within the compaffe of my curfe, (Qq)
Titus v.i.126
ADOPTED: STYLE: H 147
Fi : And fay'ft it it not fit.
F2: And fay'ft it is not fit.
Antony iii.vii.4
VI. Punctuation
Fi : I fee what thou wert if Fortune thy | foe, were not
Nature thy friend:
F2: I fee what thou wert if Fortune thy | foe were not,
Nature thy friend :
Merry Wives iii.iii.55-6
Fi : Mafter, if do expect fpoon-meate, or befpeake | a long
fpoone.
F2: Mafter, if you doe, expect fpoon-meate, or be-|fpeake a
long fpoone.
Errors iv.iii.55
Fi: So it is bejieged with fable coloured melancholie,
F2: So it is, bejieged with fable coloured melancholly,
Labour's i.i.225
Fi: What? I loue, I fue, I feeke a wife,
F2: What? I love! I fue! I feeke a wife,
Labour's iii.i.179
Fi : And I to figh for her, to watch for her,
F2: And I to figh for her! to watch for her!
Labour's iii.i.190
Fi: None are fo furely caught, when they are catcht,
As Wit turn'd foole, follie in Wifedome hatch'd:
Hath wifedoms warrant,
F2: As Wit turn'd foole-' folly in Wifedome hatch'd.
Labour's v.ii.70
Fi : If a Chrijlian wrong a lew, what fhould his fuf- 1 ferance
be by Chriftian example, why reuenge?
F2: If a Christian \ wrong a lew what fhould his fufferance
be by Chriftian | example? why revenge.
Merchant iii.i.6o
Fi: How little is the coft I haue beftowed
In purchafing the femblance of my foule;
From out the Rate of hellifh cruelty.
This comes too neere the praifing of my felfe,
F2: In purchafing the femblance of my foule,
From out the ftate of hellifh cruelty.
Merchant 111.iv.20
148 CHANGES IN THE SECOND FOLIO
Fi: and let the founds of muficke
Creepe in our eares foft ftilnes, and the night
Become the tutches of fweet harmonic:
F2: Creepe in our eares; foft flilnes, and the night
Merchant v.i.56
Fi: Sir, you haue well deferu'd,
If you doe keepe your promifes in loue;
But iuftly as you haue exceeded all promife,
Your Miftris fhall be happie.
F2: If you doe keepe your promifes in love,
As You Like It i.ii.222
Fi: Come fmg; and you that wil not | hold your tongues.
F2: Come fmg; and you that will not, | hold your tongues.
As Yon Like It ii.v.25
Fi: glad of other mens good content with my harme:
F2: glad of other mens good, content with my harme:
As You Like It 111.ii.67
Fi: you to your former Honor, I bequeath
your patience, and your vertue, well deserues it.
F2: You to your former Honor, I bequeath;
As You Like It v.iv.180
Fi: Thou yard three quarters, halfe yard, quarter, naile,
F2: Thou yard, three quarters, halfe yard, quarter, naile,
Shreiv iv.iii.io8
Fi: What is the lay more precious then the Larke?
Becaufe his feathers are more beautifull.
F2: What is the lay more precious then the Larke,
Becaufe his feathers are more beautifull?
Shreiv iv.iii.171-2
Fi: Would I were with him he would alwaies fay,
F2: Would I were with him: he would alwaies fay,
AlVs Well 1.11.52
Fi: what's the matter,
That this diilempered meffenger of wet?
The manie colour'd Iris rounds thine eye?
F2: That this diftempered meffenger of wet,
AlVs Well i.iii.142
Fi : Stay the King.
F2: Stay: the King.
AlVs Well ii.i.47
ADOPTED: PUNCTUATION 149
Fi: Then our fore-goers: the meere words, a llaue
F2: Then our fore-goers: the meere word's a flave
Airs Well 11.iii.135
Fi: La. Returne you thither.
Fren. E. I Madam, with the fwiftefl wing of fpeed.
F2: La. Returne you thither?
AlVs Well 111.ii.70
Fi : You are no Maiden but a monument
When you are dead you fhould be fuch a one
As you are now:
F2: You are no Maiden but a monument:
AlVs Well iv.ii.6
Fi: The parts that fortune hath beftow'd vpon her:
Tell her I hold as giddily as Fortune:
F2: The parts that fortune hath beftow'd upon her,
Twelfth Night 11.iv.82
Fi : To morrow fir, beft firft go fee your Lodging?
F2: To morrow fir, beft firft goe fee your Lodging.
Twelfth Night 111.iii.20
Fi : Leontes leauing
Th'effects of his fond iealoufies, fo greening
That he fhuts vp himfelfe. Imagine me
(Gentle Spectators) that I now may be
In faire Bohemia,
F2: That he fhuts up himfelfe, Imagine me
Winter's Tale iv.i.17-9
Fi: The Woes to come, the Children yet vnborne,
Shall feele this day as fharpe to them as Thorne.
F2: The Woe's to come, the Children yet unborne,
Richard II iv.i.322
Fi: wilt know againe,
Being ne're fo little vrg'd another way.
To pluck him headlong from the vfurped Throne.
F2: Being ne're fo little urg'd, another way,
Richard II v.i.64
Fi: Feare you not, that if wee can make our Peace...
Our Peace fhallftand as firme as Rockie Mountaines.
F2: Feare you not that, if we can make our Peace...
2 Henry IV iv.i.185
Fi : The Sunne doth gild our Armour vp, my Lords.
150 CHANGES IN THE SECOND FOLIO
F2: The Sunne doth gild our Armour, up my Lords.
Henry V iv.ii.i
Fi: That he is march'd to Burdeaux with his power
To fight with Talbot as he march'd along.
By your efpyals were difcouered
Two mightier Troopes then that the Dolphin led,
F2: To fight with Talbot: as he march'd along,
/ Henry VI iv.iii.5
Fi: So True men yeeld with Robbers, fo o're-matcht.
F2: So True men yeeld, with Robbers fo o're-matcht.
J Henry VI i.iv.64
Fi: But that thy Face is Vizard-like, vnchanging,
Made impudent with vfe of euill deedes.
I would affay, prowd Queene, to make thee blufh.
F2: Made impudent with ufe of evill deedes,
J Henry VI i.iv.117
Fi: What loffe of fome pitcht battell
Againft Warwicke'?
¥2: What, loffe of some pitcht battell
J Henry VI iv.iv.4
Fi: Or who pronounc'd
The bitter fentence of poore Clarence death,
Before I be conuict by courfe of Law?
To threaten me with death, is moft vnlawfull.
F2: The bitter fentence of poore Clarence death?
Before I be convict by courfe of Law,
Richard III i.iv.181-2
Fi : Prethee returne, with thy approch : I know,
My comfort comes along:
F2: Prethee returne; with thy approach, I know,
Henry VIII ii.iv. 239
[This correction was made while F2 was passing through the press and does not
appear in all copies. F3 was evidently set up from an uncorrected copy, for it agrees
with Fi. Accordingly the correction is made once more in F4. See p. 334.]
Fi: But little for my profit can you thinke Lords,
That any Englifh man dare giue me Councell?
F2: But little for my profit; can you thinke Lords,
Henry VIII iii.i.83
Fi: The amitie that wifedome knits, not folly may | eafily
vntie.
vntie.
ADOPTED: PUNCTUATION 151
F2: The amity that wifedome knits not, folly may | eafily
Troilus 1i.iii.97
Fi: but I was won my Lord
With the firft glance ; that euer pardon me,
If I confeffe much you will play the tyrant:
F2: With the firft glance that ever: pardon me
Troilus 111.ii.115
Fi: The fires i'th'loweft hell. Fould in the people:
Call me their Traitor, thou iniurious Tribune.
F2: The fires i'th'loweft hell, Fould in the people:
Coriolaniis iii.iii.68
Fi: In zeale to you, and highly mou'd to wrath.
To be controul'd in that he frankly gaue:
F2: In zeale to you and highly mov'd to wrath,
Titus i.i.419
Fi: Then, if thou grunt' ft, th'art a man.
I haue forgot thee.
F2: Then if thou grunt' ft th'art a man,
Timon iv.iii.472
Fi : (Shame that they wanted, cunning in exceffe)
F2: Shame (that they wanted cunning in exceffe)
Timon v.iv.28
Fi: Wherein my Letters, praying on his fide,
Becaufe I knew the man was flighted off.
F2: Wherein my Letter, praying on his fide,
Becaufe I knew the man, was flighted off.
Caesar iv.iii.4-5
Fi: Be not found heere: Hence with your little ones
To fright you thus. Me thinkes I am too fauage:
F2: Be not found heere." hence with your little ones:
To fright you thus. Me thinkes I am to favage:
Macbeth iv.ii.68-9
Fi : And (my yong Miftris) thus I did befpeake
F2: And my yong Mistris thus I did befpeake;
Hamlet ii.ii.139
Fi: Take this from this; if this be otherwife,
F2: Take this from this, if this be otherwife,
Hamlet 11.ii.155
152 CHANGES IN THE SECOND FOLIO
Fi: and like the famous Ape
To try Conclusions in the Basket, creepe
And breake your owne necke downe.
F2: To try Conclusions, in the Basket creepe,
Hamlet 111.iv.195
Fi: If it be fo Laertes, as how fhould it be fo:
How otherwife will you be rul'd by me?
F2: If it be fo Laertes, as how fhould it be fo?
How otherwife? will you berul'd by me?
Llamlet 1v.vii.58
Fi: but on fixe Barbary Hor-|fes againft fixe French Swords:
F2: but on, fixe Barbary Hor- 1 fes, againft fixe French Swords:
Hamlet v.ii.157
Fi : Cor. Thou art a flrange fellow, a Taylor make a man?
Kent. A Taylor Sir, a Stone-cutter, or a Painter, could |
not haue made him fo ill,
F2: Kent. A Taylor Sir; a Stone, cutter, or a Painter, could |
not have made him fo ill,
Lear 11.ii.53
Fi: A proclaim'd prize: moft happie
That eyeleffe head of thine, was firfl fram'd flefh
To raife my fortunes.
F2: A proclaim'd prize: moft happy:
Lear 1v.vi.228
Fi: Ripeneffe is all come on.
F2: Ripeneffe is all, come on.
Lear v.ii.ii
Fi : laugh
At gilded Butterflies : and heere (poore Rogues)
Talke of Court newes,
F2: At gilded Butterflies: and heare poore Rogues
Lear v.iii.13
Fi: to forget them quite,
Were to remember: that the prefent neede,
Speakes to attone you.
F2: Were to remember, that the prefent neede,
Antony Ii.ii.105
Fi: To none but thee no more but: when to thee,...
Thou art fure to loofe:
F2: To none but thee no more, but when to thee,...
Antony 11.iii.25
ADOPTED: PUNCTUATION 153
Fi: Giue me mine Angle, weele to'th'Riuer there
My Muficke playing farre off. I will betray
Tawny fine fifhes,
F2: Give me mine Angle, weele to'th' River, there
Antony 11. v. 10
Fi: Had'ft thou Narcijfus in thy face to me,
Thou would 'ft appeere moft vgly:
F2: Had'ft thou Narciffus in thy face, to me
Anto7iy 11.V.96
Fi : As 'tis reported fo.
F2: As tis reported, fo.
A?itony 111.vi.19
Fi: if Knife, Drugges, Serpents haue
Edge, fting, or operation. I am fafe:
F2: Edge, fting, or operation, I am fafe:
Antony iv.xv.26
Fi : Rather a ditch in Egypt.
Be gentle graue vnto me,
F2: Rather a ditch in Egypt,
Antony v.ii.57
[See p. 70.]
Fi: Can my fides hold, to think that man who knowes...
What woman is, yea what fhe cannot choofe
But muft be.* will's free houres languifh:
For affured bondage?
F2: But muft be: wills free houres languifh,
Cymbeline i.vi.71-2
Fi: thou wer't dignified enough
Euen to the point of Enuie. If'twere made
Comparatiue for your Vertues, to be ftil'd
The vnder Hangman of his Kingdome;
F2: Even to the point of Envy, If twere made
Cymbeline 11.iii.127
Fi: and not the wronger
Of her, or you hauing proceeded but
By both your willes.
F2: Of her, or you, having proceeded but
Cymbeline 11.iv.55
Fi: fatisfie me home,
What is become of her?
154 CHANGES IN THE SECOND FOLIO
F2: What is become of her;
Cymbeline iii.v.94
Fi: Made good the paffage, cryed to thofe that fled.
Our Britaines hearts dye flying, not our men,
F2: Made good the paffage, cryed to thofe that fled,
Cymbeline v.iii.23
Fi: Some flaine before fome dying;
F2: Some flaine before, fome dying;
Cymbeline v.iii.47
CHANGES WHICH RESTORE THE READING OF AN
EARLIER TEXT
I. Thought
A. Omitted words necessary to the meaning are inserted.
Fi: Mar. ...The Letter is too long by halfe a mile.
Qu. I thinke no leffe: Doll thou wifh in heart
The Chaine were longer, and the Letter fhort.
F2: Prin. I thinke no leffe: Dofl thou not wifh in heart
Labour s v.ii.55
Fi: Poin. Then art thou [Falstaff] damn'd for keeping
thy 1 word with the diuell.
Prin. Elfe he had damn'd for cozening the diuell.
F2: Prin. Elfe he had bin damn'd for cozening the divell.
1 Henry IV i.ii.118
Fi: lujl. Sir lohn, I fent you before your Expedition, to |
Shrewsburie.
F2: luJl. Sir lohn, I fent for you before your Expedition, ]
to Shrewsbury.
2 Henry IV i.ii.95
Fi: hee's one | of the flowers of Troy I can you, but m^rke
Troylus, you | fhal fee anon.
F2: he's one | of the flowers of Troy I can tell you,...
Troiliis i.ii.180
Fi: Sam. I, the heads of the Maids, or their Maiden-heads,
Take it in what fence thou wilt.
Greg. They muft take it fence, that feele it.
F2: Greg. They muft take it in fence, that feele it.
Romeo i.i.27
Fi: What? looke you pale? Oh beare him o'th' Ayre.
F2: What looke you pale? Oh beare him out oth' Ayre.
Othello v.i.104
RESTORING: THOUGHT: B 155
B. Inconsistencies of fact and circumstance are corrected.
Fi: I had a Rutland too, thou hop'ft to kill him.
F2: I had a Rutland too, thou holp'ft to kill him.
Richard III 1v.iv.45
Fi: ftrong as the Axletree
In which the Heauens ride,
F2: On which the Heavens ride,
Troiliis i.iii.67
Fi: Tamo[r2i to Titus] . Know thou fad man, I am not
Tamora,...
I am Reuenge fent from th'infernall Kingdome,
To eafe the gnawing Vulture of the mind.
By working wreakefull vengeance on my Foes:
F2: To eafe the gnawing Vulture of thy mind.
By working wreakefull vengeance on thy Foes :
Titus v.ii.31-2
[See p. 36.]
Fi: lul. That is no flaunder fir, which is a truth,
And what I fpake, I fpake it to thy face.
Par. Thy face is mine, and thou haft flaundred it.
F2: And what I fpake, I fpake it to my face.
Romeo iv.i.34
Fi: ltd. ...Do thou but call my refolution wife.
And with' his Knife, He helpe it prefently.
F2: And with' this Knife, He helpe it prefently.
Romeo iv.i.54
Fi: Fri. ...And this fhall free thee from this prefent fhame,
If no inconftant toy nor womanifh feare,
Abate thy valour in the acting it.
lul. Giue me, giue me, O tell not me of care.
F2: lul. Give me, give me, O tell not me of feare.
Romeo iv.i.121
[See p. 36.]
Fi: Till that her garments, heauy with her drinke,
F2: Till that her garments, heavy with their drinke
Hamlet 1v.vii.182
Fi: Foole. ...when | thou cloueft thy Crownes i'th'middle,
and gau'ft away | both parts,
F2: Fool. ...when thou cloveft thy Crowne ith'middle,...
Lear i.iv.159
156 CHANGES IN THE SECOND FOLIO
Fi: I ago. Did Michael CaJJio
When he woo'd my Lady, know of your loue?
F2: When you woo'd my Lady, know of your love?
Othello 111.iii.95
Fi: lago. ...I hope you will confider what is fpoke
Comes from your Loue.
F2: Comes from my Love.
Othello 111.iii.221
C. Corrupt readings which take, exactly or approximately, the
form of an existing word or words, not glaringly unintelligible in the
context, are corrected.
Fi: You had mufly victuall, and he hath holpe to | ease it:
F2: You had mufly victuall, and hee hath holpe to | eate it:
Much Ado i.i.41
Fi: But Athenian finde I none.
One whofe eyes I might approue
This flowers force in ftirring loue.
Fo: On whofe eyes I might approve
Dream ii.ii.68
Fi: I like not faire teames, and a villaines minde.
F2: I like not faire tearmes and, a villaines mind.
Merchant i.iii.174
Fi : lej. I will make faft the doores and guild my felfe
With fome more ducats, and be with you ftraight.
Gra. Now by my hood, a gentle, and no lew.
F2: Gra. Now by my hood, a gentile, and no lew.
Merchant 11.vi.51
Fi: Petr. A hundred marks, my Kate does put her down.
Her. That's my office.
Petr. Spoke like an Officer: ha to the lad.
F2: Pe.. Spoke like an Officer.* ha to thee lad.
Shrew v.ii.37
Fi : And formerly according to our Law
F2 : And formally according to our Law
Richard II i.iii.29
Fi: Whofe youthfull fpirit in me regenerate,
Doth with a two-fold rigor lift mee vp
F2: Doth with a two-fold vigor lift me up
Richard II i.iii.71
Fi : Sir Walter Blunt, new lighted from his Horfe,
Strain'd with the variation of each foyle,
RESTORING: THOUGHT: C 157
F2: Stain'd with the variation of each foyle,
I Henry IV i.i.64
Fi : For euery Honor fitting on his Helme,
Would they were multitudes, and on my head
My fhames redoubled.
F2: For every Honor fitting on his Helme,
1 Henry /Fiii.ii.i42
Fi: After him, came fpurring head
A Gentleman (almoft fore-fpent with fpeed)
F2: After him, came fpurring hard
2 Henry I V i.i.36
Fi: Limbes are in his inftruments,
In no leffe working, then are Swords and Bowes ■
Directiue by the Limbes.
F2: Limbes are his inftruments,
Troilus i.iii.354
Fi : I prethee do not hold me to mine oath,
Bid me doe not any thing but that fweete Greeke.
F2: Bid me doe any thing but that fweet Greeke.
Troilus v.ii.27
Fi: Aron. Now climbeth Tamora Olympus toppe.
Safe out of Fortunes fhot, and fits aloft,...
Aduanc'd about pale enuies threatning reach:
F2: Advanc'd above pale envies threatning reach:
Titus II. i. 4
Fi: Now ftay you flrife, what fhall be, is difpatcht:
F2: Now flay your ftrife, what fhall be, is difpatcht:
Titus III. i. 193
Fi: Set fire on Barnes and Hayftackes in the night.
And bid the Owners quench them with the teares:
F2: And bid the Owners quench them with their teares:
Titus v.i.134
Fi: Mifhapen Chaos of welfeeing formes,
F2: Mifhapen Chaos of welfeeming formes,
Romeo i.i.177
Fi : As a rich lewel in an ^thiops eare :
F2: Like a rich lewel in an ^thiops eare:
Romeo i.v.44
Fi: Prin. ...But He Amerce you with fo ftrong a fine,
That you fhall all repent the loffe of mine.
It will be deafe to pleading and excufes.
158 CHANGES IN THE SECOND FOLIO
Nor teares, nor prayers fhall purchafe our abufes.
F2: I will be deafe to pleading and excufes,
Romeo iii.i.189
Fi: Prin. ...Mercy not Murders, pardoning thofe that kill.
F2: Prin. ...Mercy but Murders, pardoning thofe that kill.
Romeo iii.i.194
[See p. 37.]
Fi: And thou and Romeo preffe on heauie beere.
F2: And thou and Romeo preffe one heavy beere.
Romeo iii.ii.6o
Fi: But which a rere-ward following Tybalts death
Romeo is banifhed to fpeake that word,
Is Father, Mother, Tybalt, Romeo, Juliet,
All flaine, all dead:
F2: But with a rere-ward following Tybalts death,
Romeo 111.ii.121
Fi: Fri. O Juliet, I alreadie know thy griefe,
It ftreames me pafl the compaffe of my wits:
F2: It ftraines me paft the compaffe of my wits:
Romeo iv.i.47
Fi: Cap. ...good Father, 'tis day.
F2: Cap. ...good Faith, tis day.
Romeo 1v.iv.21
Fi: Come one you here this fellow in the felleredge
F2: Come on, you heare this fellow in the felleridge.
J Jamie t i.v.151
Fi: I. Play. But who, O who, had feen the inobled Queen.
F2: I Play. But who, O who, had feen the Mobled Queene.
JJamlet 11.ii.496, 497, 498
Fi: That I effentially am not in madneffe.
But made in craft.
F2: But mad in craft.
JJamlet iii.iv.i88
Fi: How long hath fhe bin this?
F2: How long hath fhe been thus?
JJamlet iv.v.65
Fi: 'tis a Chowgh; but as I faw fpacious in the pof-jfeffion
of dirt.
F2: tis a Chough; but as I fay, fpacious...
JJamlet v.ii.88
RESTORING: THOUGHT: C 159
Fi: To his great Mafler, who, threat-enrag'd
Flew on him, and among'fl them fell'd him dead,
F2: To his great Mafler, who, thereat enrag'd
Lear 1v.ii.75
Fi: A flipper, and fubtle knaue, a finder of occa-|fion: that
he's an eye can flampe, and counterfeit Ad-|uantages,
F2: ...that ha's an eye can ftampe,...
Othello II. i. 239
Fi : 0th. lago becomes me : now he [Cassio] begins the ftory.
F2: 0th. lago becons me: now he begins the ftory.
Othello IV. i. 130
D. Corrupt readings are emended by pure guesswork.
Fi: Thought I thy fpirits were flronger then thy fhames,
My felfe would on the reward of reproaches
Strike at thy life
F2: My felfe would on the reareward of reproaches
Much Ado iv.i.126
[See p. 38.]
Fi: Brag. I will tell thee wonders.
Ma[id]. With what face?
F2: Maid. With that face?
Labour's i.ii.133
Fi: Prin. What fay 'ft thou to a Hare, or the Melancholly|
of Moore Ditch?
Fal. Thou haft the moft vnfauoury Imiles, and art in-|
deed the moft comparatiue rafcallefl fweet yong Prince.
F2: Fal. Thou haft the moft unfavoury limiles,...
/ Henry IV i.ii.77
Fi: Better confider what you haue to do,
That I that haue not well the gift of Tongue,
Can lift your blood vp with perfwafion.
F2: Than I that have not well the gift of Tongue,
I Henry IV v.ii.78
Fi: then I felt to his knees, and fo | vp-peer'd, and vpward,
F2: then I felt to his knees, and fo | up-war'd and upward,
Henry V 11.iii.25
Fi: Marke him, not him: O braue Troylus: looke | well vpon
him Neece,
F2: Marke him, note him:...
Troilus i.ii.223
160 CHANGES IN THE SECOND FOLIO
Fi: Mar. ...My Lord looke heere, looke heere Lauinia.
This fandie plot is plaine, guide if thou canfl
This after me, I haue writ my name,
Without the helpe of any hand at all.
Curft be that hart that fore 'ft vs to that fhift:
F2: Curft be that heart that fore 'ft us to this fhift:
Tittis iv.i.73
Fi: euen fuch delight
Among frefh Fennell buds fhall you this night
Inherit at my houfe:
F2: Among frefh Female buds fhall you this night
Romeo i.ii.29
Fi : What? in a names that which we call a Rofe,
By any other word would fmell as fweete,
F2: Whats in a name? that which we call a Rofe,
Romeo 11.ii.43
Fi: A dimne Saint, an Honourable Villaine:
F2: A damned Saint, an Honourable Vallaine:
Romeo 111.ii.79
Fi: A packe or bleffing light vpon thy backe,
F2: A packe of bleffings light upon thy backe,
Romeo 111.iii.141
Fi: perchance 'twill wake againe.
F2: perchance twill walke againe.
Hamlet i.ii.242
Fi: Your fat King, | and your leane Begger is but variable
feruice to difhes, | but to one Table that's the end.
F2: ...is but variable fervice, two | difhes,...
Hamlet 1v.iii.24
Fi: And like the kinde Life-rend'ring Politician,
Repaft them with my blood.
F2: And like the kinde life-rendring Pelican,
Hamlet iv.v.143
[See p. 38. J
Fi: I haue bin fixeteene | heere, man and Boy thirty yeares.
F2: I have been Sexeftone | here, Man and Boy thirty yeeres.
Hamlet v.i.156
Fi: Kent. ...fuch fmiling rogues as thefe,,..
Being oile to fire, fnow to the colder moodes,
Reuenge, affirme, and turne their Halcion beakes
With euery gall, and varry of their Mafters,
RESTORING: THOUGHT: D 161
F2: Renege, affirme, and turne their Halcion beakes
With every gale, and vary of their Mafters,
Lear 11. ii. 73-4
Fi: lago. ...He, (fwift of foote)
Out-ran my purpofe: and I return 'd then rather
For that I heard the clinke, and fall of Swords,
Fo: Out-ran my purpofe; and I return 'd the rather
Othello 11.iii.225
Fi: Of one, whofe hand
(Like the bafe ludean) threw a Pearle away
Richer then all his Tribe:
F2: (Like the bafe Indian) threw a Pearle away
Othello v.ii.350
ISee p. 38.]
IL Action
A. Entrances and exits are correctly indicated.
Dream 111.ii.343 (the Exeunt of Qq, at 1. 344, and of F2 is usually
divided by modern editors between this line and the next, which is
omitted in the Ff ) ; Troilus v.ii.194; Romeo in. v. 235; Othello iv.i.165.
B. Speeches are correctly redistributed.
Labour's ii.i.21-34, assigned to Prin. in Fi, is added to the preced-
ing speech of Queen (who is, of course, the same person).
Richard III v.iii.223, assigned to Richm[ond] in Fi, is transferred
to Lords.
Titus IV. ii. 9-1 7, assigned (with 1. 7; 1. 8 is missing in Fi) to De-
me[trius] in Fi, is transferred to Boy.
Romeo ii.iv. 166-7, assigned to Nur[se] in Fi, is transferred to
Rom[eo].
Romeo 11. vi. 24-9, assigned to Fri[ar] in Fi, is transferred to
Rom[eo].
Hamlet III. n. 1^6, 172, 177, 211 Bap. is altered to [Player] Quee[n].
Othello i.iii.106-9, which forms a part of the preceding speech of
Bra[bantio] in Fi, is assigned to Duk[e].
in. Meter: Verses are lengthened or shortened to improve
their rhythm.
Fi: I charge thee doe, as thou art my childe.
F2: I charge thee do fo as thou art my childe.
Much Ado iv.i.75
162 CHANGES IN THE SECOND FOLIO
Fi: Flat treafon againft the Kingly flate of youth.
F2: Flat treafon gainft the Kingly ftate of youth.
Labour's 1v.iii.289
Fi: And through this diflemperature, we fee
F2: And thorough this diflemperature, we fee
Dream 11. i. 106
Fi: The feeming truth which cunning times put on
To intrap the wifefl:. Therefore then thou gaudie gold,
F2: To intrap the wifeft. Therefore thou gaudy gold,
Merchant iii.ii.ioi
Fi: Preuent it, refift it, and let it not be fo,
F2: Prevent it, refift it, let it not be fo,
Richard II iv.i.148
Fi: Vouchfafe (defus'd infection of man)
F2: Vouchfafe (defus'd infection of a man)
Richard III i.ii.78
Fi : We muft giue vp to Diomeds hand
F2: We muft give up to Diomedes hand
Troilns 1v.ii.65
Fi: Ther's a language in her eye, her cheeke, her lip;
F2: Ther's language in her eye, her cheeke, her lip;
Troilns iv.v.55
Fi: I pray you ftay? by hell and hell torments,
F2: I pray you ftay? by hell and all hells torments,
Troilns v.ii.43
Fi: Oh noble father, you lament in vaine,
The Tribunes heare not, no man is by,
F2: The Tribunes heare you not, no man is by,
Titus III. i. 28
Fi: Prouide thee two proper Palfries, as blacke as let,
F2: Provide the two proper Palfries, blacke as let,
Titus v.ii.50
Fi: And He be reuenged on them all.
F2: And I will be revenged on them all,
Titus v.ii.97
Fi: And bid that flrumpet your vnhallowed Dam,
Like to the earth fwallow her increafe.
F2: Like to the earth fwallow her owne increafe.
Titus v.ii.192
RESTORING: METER 163
Fi: What haft done, vnnaturall and vnkinde?
F2: What haft thou done, unnaturall and unkind?
Titus v.iii.48
Fi: Nor open her lap to Sainct-feducing Gold:
F2: Nor ope her lap to Saint-feucing Gold:
Romeo i.i.212
Fi: Shee's the hopefull Lady of my earth:
F2: She is the hopefull Lady of my earth:
Romeo i.ii.15
Fi: But no more deepe will I endart mine eye.
Then your confent giues ftrength to make fiye.
F2: Then your confent gives ftrength to make it flye,
Romeo i.iii.ioo
Fi: My lips to blufhing Pilgrims did ready ftand,
F2: My lips two blufhing Pilgrims ready ftand,
Romeo i.v.93
Fi: The Ape is dead, I muft coniure him,
F2: The Ape is dead, and I muft coniure him.
Romeo ii.i.i6
Fi: To raife a fpirit in his Miftreffe circle,
Of fome ftrange nature, letting it ftand
Till fhe had laid it, and coniured it downe,
F2: Of fome ftrange nature, letting it there ftand
Romeo ii.i.25
Fi: And therefore thou maieft thinke my behauiour light,
F2: And therefore thou mayeft thinke my haviour light,
Romeo 1i.ii.99
Fi : Louers can fee to doe their Amorous rights,
And by their owne Beauties: or if Loue be blind,
F2: By their owne Beauties: or if Love be blind,
Romeo iii.ii.9
Fi: As if that name ftiot from the dead leuell of a Gun,
F2: As if that name fhot from the deadly levell of a Gun,
Romeo 111.iii.103
Fi : But thou flew'ft Tybalt, there art thou happie.
F2: But thou flew'ft Tybalt, there art thou happy too
Romeo 111.iii.138
Fi: God pardon, I doe with all my heart:
F2: God pardon him, I doe with all my heart,
Romeo iii.v.82
164 CHANGES IN THE SECOND FOLIO
Fi: What are they, befeech your Ladyfhip?
F2: What are they, I befeech your Ladyfhip?
Romeo iii.v.106
Fi: To Hue an vnftained wife to my fweet Loue.
Fi;: To Hve an vnftaind wife to my fweet Love.
Romeo iv.i.88
Fi : No not till Thurfday, there's time inough.
F2: No not till Thurfday, there is time inough.
Romeo 1v.ii.36
Fi: O Sonne, the night before thy wedding day,
Hath death laine with thy wife: there fhe lies,
F2: Hath death laine with thy wife: fee there fhe lies,
Romeo iv.v.36
Fi: And here abouts dwells, which late I noted
F2: And here abouts he dwels, which late I noted
Romeo v.i.38
Fi: My life I neuer held but as pawne
F2: My life I never held but as a pawne
Lear i.i.154
Fi: To come betwixt our fentences, and our power,
F2: To come betwixt our fentence, and our power,
Lear i.i.170
Fi: That fhe whom euen but now, was your obiect,
F2: That fhe who even but now, was your be ft object,
Lear i.i.214
Fi: In ranke, and (not to be endur'd) riots Sir.
F2: In ranke, and not to be endured) riots Sir.
Lear i.iv.202
Fi: There's my exchange, what in the world hes
That names me Traitor, villain-like he lies,
F2: Theres my exchange, what in the world he is
Lear v.iii.98
Fi: There's no compofition in this Newes,
F2: There is no compofition in this newes,
Othello i.iii.i
Fi: That the bruized heart was pierc'd through the eares.
F2: That the bruiz'd heart was pierced through the eare.
Othello i.iii.219
RESTORING: METER 165
Fi: What tydings can you tell of my Lord?
F2: What tydings can you tell me of my Lord?
Othello ii.i.88
Fi: The great Contention of Sea, and Skies
F2: The great contention of the Sea and Skies,
Othello ii.i.92
Fi: He's a Souldier, fit to ftand by Casfar,
F2: He is a Soldier, fit to ftand by Casfar,
Othello 1i.iii.114
Fi: If I do die before, prythee fhrow'd me
F2: If I doe dye before thee, prethee fhrowd me
Othello 1v.iii.23
IV. Grammar
A. Inconsistencies are corrected.
I. Tense and/or mood of verbs.
Fi: it is a low ebbe of Linnen with thee, when thou kept' ft |
not Racket there,
F2: ...when thou kee-|peft not Racket there,
2 Henry I V 11.ii.19
Fi : I heare a Bird fo fmg,
Whofe Muficke (to my thinking) pleas'd the King.
F2: I heard a Bird fo fmg,
2 Henry IV v. v. 108
Fi : As euer you come of women, come in quickly | to fir lohn :
F2: As ever you came of women,...
Henry V ii.i.114
Fees,
Fi: fhe | gallops. ..ore Lawyers fingers, who ftrait dreamt on
F2: ...who ftrait dreame on | Fees,
Romeo i.iv.73
Fi: My graue is like to be my wedded bed.
F2: My grave is like to be my wedding bed.
Romeo i.v.133
Fi: A rime, I learne euen now
Of one I dan'ft withall.
F2: A rime, I learnd even now
Romeo i.v.140
166 CHANGES IN THE SECOND FOLIO
Fi : at Louers periiiries
They fay loue laught,
F2: They fay loue laughes,
Romeo 11.ii.93
Fi: thefe are now the|fafhion, and fo be-ratled the common
Stages
F2: ...and fo be ratle the common Stages
Hamlet 11.ii.33 7
Fi : that it's had it head bit off by it | young,
Fo: that it had its head bit off by it | young,
Lear i.iv.215
[The reading of Fi is doubtless an accident; perhaps 's was mistakenly attached
to the first instead of the second it. At all events, it has had makes tolerable sense
in this line; we therefore classify the correction as a change of tense.]
Fi : No, he muft dye. But fo, I heard him comming.
F2: No, he muft dye. But fo, I heare him comming.
Othello v.i.22
2. Number of verbs.
[We omit eleven examples of changes from singular to plural or plural to singular'
all adopted by most modern editors, printed by Professor Smith in Englische Studien
(xxx.7-17, 1902).]
Fi: She hath, and in that fparing make huge waft?
F2: She hath, and in that fparing makes huge waft?
Romeo i.i.216
Fi: Like death when he fhut vp the day of Hfe:
F2: Like death when he (huts up the day of hfe:
Romeo iv.i.ioi
Fi: And her immortall part with Angels Hue,
F2: And her immortall part with Angels lives
Romeo v.i.19
Fi : Now cracke a Noble heart :
F2: Now cracks a Noble heart;
Hamlet v.ii.351
Fi: yet he lookes fadly,
And praye the Moore be fafe;
F2: And prayes the Moore be fafe;
Othello ii.i.33
Exit is correctly changed to Exeunt at Hamlet 11.ii.39.
RESTORING: GRAMMAR: A 167
3. Person.
[We do not reprint three examples listed by Professor Smith (tit supra, pp. 18-20).]
Fi: Not Neoptolymus fo mirable,
On whofe bright creft, fame with her lowd'ft (O yes)
Cries, This is he; could' ft promife to himfelfe,
F2: Cries, This is he; could promife to himfelfe,
Troilus IV.V.144
4. Number of nouns and pronouns.
[We omit two examples listed by Professor Smith {^ut supra, pp. 7-13).]
Fi: Both by my felfe and many others Friends,
F2: Both by my felfe and many other Friends,
Romeo i.i.144
Fi: I charge thee in the Princes names obey.
F2: I charge thee in the Princes name obey.
Romeo in. i. 137
Fi.- Vtter your grauitie ore a Goffips bowles
F2: Vtter your gravity ore a Goffips bowle,
Romeo iii.v.174
Fi: What curfed foot wanders this wayes to night.
F2: What curfed foot wanders this way to night,
Romeo v.iii.19
Fi: For in the fatneffe of this purfie times,
F2: For in the fatneffe of thefe purfie times,
Hamlet 111.iv.153
Fi: we fat our felfe for Magots.
F2: we fat our felues for Magots.
Hamlet 1v.iii.23
Fi: the Age is growne fo picked, that the toe of the Pefant]
comes fo neere the heeles of our Courtier, hee galls his | Kibe.
F2: ...fo neare the heele of our Courtier,...
Hamlet v.i.137
Fi: As we haue warrantis,
F2: As we have warrantie,
Hamlet v.i.221
Fi: Still queflion'd me the Storie of my life.
From yeare to yeare: the Battaile, Sieges, Fortune,
That I haue paft.
F2: From yeare to yeare: the Battails, Sieges, Fortune,
Othello i.iii.130
168 CHANGES IN THE SECOND FOLIO
F^i: Rough Quarries, Rocks, Hills, whofe head touch heauen,
F2: Rough Quarries, Rocks, & Hils, whofe heads touch
heaven,
Othello i.iii.141
Fi: Come on, come on: you are Pictures out ofjdoore:
F2: Come on, come on; you are Pictures out of dores:
Othello II. i. 109
Fi: Is your Englifhmen fo exquifite in his drin-|king?
F2: Is your Englifhman fo exquifite in his drin-|king?
Othello 11.iii.75
5. Case.
Fi: this muft be done with hafte,
For night-fwift Dragons cut the Clouds full fafl,
F2: For nights-fwft Dragons cut the Clouds full fafl.
Dream 111.ii.379
Fi: I am accurft to rob in that Theefe company:
F2: I am accurft to rob in that Theefes company:
I Henry I V ii.ii.io
Fi: I pray you flay? by hell and hell torments,
I will not fpeake a word.
F2: I pray you ftay? by hell and all hells torments,
Troiliis v.ii.43
Fi: Stands tipto on the miftie Mountaines tops,
F2: Stands tipto on the miftie Mountaine tops,
Romeo in. v. 10
Fi: To who do you fpeake this?
F2: To whom doe you fpeake this?
Hamlet 111.iv.131
Fi: That fhe whom euen but now. was your obiect,
F2: That fhe who even but now, was your beft object,
Lear i.i.214
Fi : from thy Mother Tombe,
F2: from thy Mothers Tombe,
Fi : To who ?
F2: To whom?
Lear 11.iv.129
Othello i.ii.52
6. Gender.
Fi: For he hath wit to make an ill fhape good,
RESTORING: GRAMMAR: A 169
And fhape to win grace though fhe had no wit.
F2: And fhape to win grace though he had no wit.
Labour's ii.i.6o
Fi : Nature in you ftands on the very Verge
Of his confine:
F2: Of her confine:
Lear 11.iv.146
B, Omitted words necessary to completeness of sentence structure
are inserted.
Fi: Haue you the Lions part written? pray you if|be, giue
it me,
F2: ...pray you if |it be,...
Dream i.ii.58-9
Fi: Pir. ...And Hke Limander am I trufty flill.
Thif. And like Helen till the Fates me kill.
F2: Thif. And I like Helen till the Fates me kill.
Dream v.i.196
Fi : Take fome remembrance of vs as a tribute,
Not as fee:
F2: Not as a fee:
Merchant iv.i.418
Fi: Why yet doth deny his Prifoners,
F2: Why yet he doth deny his Prifoners,
/ Henry IV i.iii.77
Fi: What Letters haft there?
F2: What Letters haft thou there?
I Henry IV iv.i.13
Fi: You mocke me Madam, this not the way
To win your daughter.
F2: You mocke me Madam, this is not the way
Richard III 1v.iv.284
Fi: you may [call it Melancholly if will fauour the man, but
by my I head, it is pride;
F2: ...if you will favour the man,...
Troiliis 11.iii.83
Fi: You may euery day enough of Hector
If you haue ftomacke.
F2: You may have every day enough of Hector
Troilus IV.V.263
170 CHANGES IN THE SECOND FOLIO
Fi: Welcome Emilliiis, what the newes from Rome?
F2: Welcome Emillius, whats the newes from Rome?
Titus v.i.155
Fi: & fomtime comes flie with Tith pigs tale,
F2: and fometime comes fhe with a Tith pigs tale,
Romeo i.iv.79
Fi: Let do't I pray,
F2: Let's do't I pray,
Hamlet i.i.174
F] : Haft, haft me to know it,
That with wings as fwift
As meditation, or the thoughts of Loue,
May fweepe to my Reuenge.
F2: That I with wings as fwift
Hamlet i.v. 29
Fi: Reg. ...Preferment fals on him, that cuts him off.
Steiv. Would I could meet Madam, I fhould fhew
What party I do follow.
F2: Stetv. Would I could meet him Madam, I fhould fhew
Lear iv.v.39
Fi: Bra[hantio]. To Prifon,...
Othe. What if do obey?
How may the Duke be therewith fatisfi'd,
F2: Othe. What if I doe obey?
Othello i.ii.87
Fi: Def. Talke you of killing?
0th. I, I do.
DeJ. Then Heauen haue mercy on mee.
0th. Amen, with all my heart.
Def. If you fay, I hope you will not kill me.
F2: DeJ. If you fay fo, I hope you will not kill me.
Othello v.ii.38
V. Style
A. The current is substituted for an obsolescent, archaic, or in-
elegant word or form.
common to commune {Hamlet iv.v.198)
impittious to impetuous {Hamlet iv.v.97)
vnblowed to unblowne {Richard III iv.iv.io)
vil'd to vile {Othello 11.iii.248)
whether to whither {2 Henry IV v.ii.i)
RESTORING: STYLE: B 171
B. Synonyms, equivalent idioms, and alternate forms of the same
word are substituted.
Fi: Do ye not loue me? Do ye not indeed?
F2: Do ye not love me? Do you not indeed?
1 Henry IV 1i.iii.93
[Modern editors, following the Qq, also change the first ye to you. Perhaps the
editor of F2 meant to do likewise, but the compositor failed to carry out his intention.]
Fi : I loath to pawne my Plate,
F2: 1 1 am loath to pawne my Plate,
2 Henry IV ii.i.149
Fi: Troy. ...In all Cupids Pageant there is prefented no
monfler,
Cref. Not nothing monftrons neither?
F2: Cref. Nor nothing monftrous neither?
Troilus 111.ii.73
C. The order of words is altered.
Fi: it is not hard Ner-\rijfa, that I cannot choofe one, nor
refufe none.
F2: is it not hard...
Merchant i.ii.22
Fi: Art not thou horrible afraid?
F2: Art thou not horrible afraid?
I Henry IV 11.iv.359
Fi: It is more fin to wifh me thus forfworne.
Or to difpraife my Lord...?
F2: Is it more fin to wifh me thus forfworne,
Romeo iii.v.237
D. Words and phrases from foreign languages are corrected.
Fi : Vir sapis qui pauca loquitur,
F2: Vir sapit qui pauca loquitur,
Labour's 1v.ii.76
Fi: Integer vitas fcelerifque purus, non egit maury iaculis nee
ar-\cus.
F2: ...non egit mauri...
Titus 1v.ii.21
E. The spelling of proper names is corrected.
Atiopa to Antiopa {Dream ii.i.80)
Diephoebus, Deiphoebus to Deiphobus {Troilus iv.i.i s.d., iv.ii.6i)
Hecubae to Hecuba {Titus iv.i.20)
172 CHANGES IN THE SECOND FOLIO
Herford to Hereford {Richard II i.ii.46, 47, 53)
Ottamites to Ottomites {Othello i.iii.234)
Woodeulle to Woodville {Richard III i.i.67)
F. The rime is restored in defective riming passages.
Fi: Tarn. Why hafl thou flaine thine onely Daughter?
Titus. Not I, 'twas Chiron and Demetrius,
F2: Tam. Why haft thou flaine thine onely Daughter thus?
Titus v.iii.55
Fi: Why then, O brawling loue, O louing hate,
O any thing, of nothing firft created:
F2: O any thing, of nothing firft: create:
Romeo i.i.175
Fi: But words are words, I neuer yet did heare:
That the bruized heart was pierc'd through the eares.
F2: That the bruiz'd heart was pierced through the eare.
Othello i.iii.219
INTELLIGENT AND JUDICIOUS EMENDATIONS SUPERSEDED
BY MORE AUTHORITATIVE READINGS FROM THE QUARTOS
OR BY BETTER APPROVED CONJECTURES
[For the reader's convenience, we also give the reading of most modern editors
(ME), followed, in parenthesis, by the authority for it or, if it is a conjectural emen-
dation, the name of the editor who first adopted it.]
I. Thought
A. Inconsistencies of fact and circumstance are corrected.
Fi: Bring them to heare me fpeak, where I may be|con-
ceal'd.
F2: Bring them to fpeake, where I may be conceal'd, |yet
heare them.
ME: Bring me to hear them speak, where I may be conceal'd.
(Malone)
Measure iii.i.53-4
[See p. 38.]
Fi: Heard you not what an humble Suppliant
Lord Ilajlings was, for her deliuery?
F2: Lord Hastings was, for his delivery?
ME: Lord Hastings was to her for his delivery? (Qq)
Richard III i.i.75
[See p. 39.]
Fi: prickt|from the Lazie-finger of a man.
F2: pricktjfrom the Lazy-finger of a woman.
SUPERSEDED: THOUGHT: A 173
ME: Prick'd from the lazy finger of a maid; (Qi)
Romeo i.iv.66
Fi: Rom. [to Jul.] My Neece.
F2: Rom. My fweete.
ME: Romeo. My dear! (Q4)
Romeo ii.ii.i68
Fi: I am forrie that that thou art fo well.
F2: I am forry that thou art fo ill,
ME: I am sorry that thou art not well. (Qq)
Romeo ii.v.53
Fi: His [Romeo's] aged arme beats downe their fatall points,
F2: His able arme, beats downe their fatall points,
ME: His agile arm beats down their fatal points, {Q^)
Romeo iii.i.163
Fi: Nur. I fpeake no treafon,
Father, O Godigoden,
May not one fpeake?
Fo: O Godigoden,
ME: Capulet. O! God ye good den. (Qq)
Romeo iii.v.172
Fi: My Lord you muft intreat the time alone.
F2: My Lord I muft intreat the time alone.
ME: My lord, we must entreat the time alone. (Qq)
Romeo iv.i.40
Fi: Iiil. ...Seeking out Romeo that did fpit his body
Vpon my Rapiers point:
F2: Vpon his Rapiers point:
ME: Upon a rapier's point. (Qq)
Romeo 1v.iii.57
Fi: Alon. I bleed ftill, I am hurt to th'death. He dies.
Fa: Mon. I bleed ftill, I am hurt, but not to th'death.
ME: Mojitano. 'Zounds! I bleed still; I am hurt to the death.
[He faints. (Q,)
Othello 11.iii.156
[See p. 39.]
B. Corrupt readings which take, exactly or approximately, the
form of an existing word or words are corrected.
Fi: Therefore let Benedicke like couered fire,
Confume away in fighes, wafte inwardly:
It were a better death, to die with mockes,
Which is as bad as die with tickling.
174 CHANGES IN THE SECOND FOLIO
F2: It were a bitter death, to die with mockes,
ME: It were a better death than die with mocks, (Q)
Much Ado III, i. 79
Fi: my tough figneur.
F2: my tough Signior. (Qi)
ME: my tough senior (Malone)
Labour's i.ii.io, 11,16
Fi: I wonder fir, fir, wiues are monflers to you,...
Yet you defire to marry.
F2: I wonder fir, wives are fuch monfters to you,
ME: I wonder, sir, sith wives are monsters to you, (Dyce)
AlVs Well v.iii.153
Fi: Made Glory bafe; a Soueraigntie, a Slaue;
F2: Made Glory bafe; a Soveraigne, a Slave;
ME: Made glory base and sovereignty a slave, (Q3)
Richard II iv.i.251
Fi: Plantaginet I will, and like thee,
Play on the Lute, beholding the Townes burne:
F2: Plantaginet I will, and Nero like will,
ME : Plantagenet, I will : and like thee, Nero, (Malone)
I Henry VI i.iv.95
[See p. 39.]
Fi: Norff. If it doe, He venture one; haue at him.
Stiff. I another.
F2: A^orf. If it doe, He venture one heave at him.
ME: I'll venture one have-at-him. (Dyce)
Henry VIII 11.ii.82
Fi : we lay by
Our appertainments, vifiting of him:
Let him be told of, fo perchance he thinke
We dare not moue the queflion of our place,
F2: Let him be told of, leaft perchance he thinke
ME: Let him be told so; lest perchance he think (Q)
Troilus 11.iii.77
[In part corroborated by Q.]
Fi: And goe to dufl, that is a little guilt.
More laud then guilt oredufted.
F2: And doe to duft, that is a little gilt,
ME: And give to dust that is a little gilt (Theobald)
Troilus 111.iii.178
[Apparently some copies of F2 read goe.]
SUPERSEDED: THOUGHT: B 175
Fi: My halfe fupt Sword, that frankly would haue fed,
Pleas'd with this dainty bed; thus goes to bed.
F2: Pleas'd with this dainty bitt: thus goes to bed.
ME: Pleas'd with this dainty bait, thus goes to bed. (Q)
Troilus v.viii.2o
Fi: Why in this Wooluifh tongue fhould I ftand heere,
F2: Why in this Woolvifh gowne fhould I ftand heere,
ME: Why in this woolvish toge should I stand here, (Malone)
Coriolanus ii.iii.112
Fi: A word ill vrg'd to one that is fo ill."
F2: O, word ill urg'd to one that is fo ill:
ME: Ah! word ill urg'd to one that is so ill. (Qi)
Romeo i.i.201
Fi : The Rofes in thy lips and cheekes fhall fade
To many afhes,
F2: To mealy aflies,
ME: To paly ashes; (Q5)
Romeo iv.i.ioo
Fi: Whereof by parcels ilie had fomething heard.
But not inftinctiuely :
F2: But not diftinctively :
ME: But not intentively: (Qq)
Othello i.iii.155
Fi: lago. I know not that: but fuch a Handkerchiefe
(I am fure it was your wiues) did I to day
See Cajfio wipe his Beard with.
0th. If it be that.
lago. If it be that, or any, it was hers.
It fpeakes againft her with the other proofes.
F2: lago. If it be that, or any, if' t was hers,
ME: lago. If it be that, or any that was hers, (Malone)
Othello 111.iii.444
Fi: Frame your felfe
To orderly lolicity,
Fa: To orderly folicits,
ME: To orderly soliciting, (Collier)
Cymbeline 11.iii.47
C. In obviously corrupt passages, a more intelligible reading is
inserted or the approved sense is approximately recovered.
Fi: and why meet him at the gates and re-|liuer ou rau-
thorities there?
17.6 CHANGES IN THE SECOND FOLIO
F2: ... I deliver our authorities...
ME: ...redeliver our authorities... (Capell)
Measure iv.iv.5
Fi: IIol. ...dictifinm goodman | Dull.
Did. What is dictima?
F2: Dull. What is dictinna?
ME: Dtdl. What is Dictynnal' (Rowe)
Labour's iv.ii.35
Fi: On her haires were Gold, Chrillall the others eyes.
F2: Her haires were Gold, Crillall the others eyes.
ME: One, her hairs were gold, crystal the other's eyes: (Qi)
Labour's iv.iii.138
Fi: It mournes, that painting vfurping haire
Should rauifh doters with a falfe afpect:
F2: It mournes, that painting an vfurping haire
ME: It mourns that painting and usurping hair (F4)
Labour's iv.iii.255
Fi: Tranfparent Helena, nature her fhewes art.
That through thy bofome makes me fee thy heart.
F2: Tranfparent Helena, nature here fhews art,
ME: Transparent Helena! Nature shows art, (Qq)
Dream 11.ii.104
Fi: One halfe of me is yours, the other halfe yours,
Mine owne I would fay: but of mine then yours,
F2: Mine owne I would fay: but firft mine, then yours,
ME: Mine own, I would say; but if mine, then yours, (Qq)
Merchant 111.ii.17
Fi: Alas poore Shepheard fearching of they would,
F2: Alas poore Shepheard! fearching of their wound,
ME: Alas, poor shepherd! searching of thy wound, (Rowe)
As You- Like It 11.iv.41
Fi : Let vs dye in once more backe againe,
F2: Let us flye in once more backe againe,
ME: Let's die in honour! once more back again; (Qq)
Henry V iv.v.ii
Fi: Whilft a bale flaue, no gentler then my dogge.
His fairefl daughter is contaminated.
F2: Whilfl by a bale flave, no gentler then my dogge,
ME: Whilst by a slave, no gentler than my dog, (Qq)
Henry V iv.v.15
SUPERSEDED: THOUGHT: C 177
Fi: Bethinke thee on her Vertues that furmount,
Mad naturall Graces that extinguifh Art,
F2: Made naturall Graces that extinguifh Art,
ME: And natural graces that extinguish art; (Capell)
1 Henry VI v.iii.192
Fi: Might I but know thee by thy houfed Badge.
F2: Might I but know thee by thy houfes Badge.
ME: Might I but know thee by thy household badge. (Qq)
2 Henry VI v.i.201
Fi: This day He weare aloft my Burgonet,...
Euen io affright thee with the view thereof.
F2: Even fo affright thee with the view thereof.
ME: Even to affright thee with the view thereof. (Rowe)
2 Henry VI v.i.207
Fi: nor the remainder Viands
We do not throw in vnrefpectiue fame,
Becaufe we now are full.
F2: We doe not throw in unrefpective place,
ME: We do not throw in unrespective sieve (Q)
Troiliis 11.ii.71
Fi: Then Hectors forhead, when it fpit forth blood
At Grecian fword. Contenning , tell Valeria
We are fit to bid her welcome.
F2: At Grecian fwordes Contending: tell Valeria
ME: At Grecian swords, contemning. Tell Valeria (Leo)
Coriolanus i.iii.43
Fi: the Chaires of luftice
Supplied with worthy men, plant loue amongs
Through our large Temples
F2: Supplied with worthy men, plant love amongft you,
ME: Supplied with worthy men! plant love among's! (Dyce)
Coriolanus Ii1.iii.35
Fi: And fhe fhew fcant fhell, well, that now fhewes befl.
F2: And fhele fhew fcant, well, that now fhewes beft.
ME: And she shall scant show well that now shows best. (Qq)
Romeo i.ii.99
Fi: Cry me but ay me, Prouant, but Loue and day,
F2: Cry me but ayme, Couply but Love and day.
ME: Cry but 'Ay me!' pronounce but 'love' and 'dove'; (Qq)
Romeo ii.i.io
[Evidently the editor intended couple.]
178 CHANGES IN THE SECOND FOLIO
Fi: But fliall be remedied to your publique Lawes
At heauieft anfwer.
F2: But fhall be remedied by your publique Lawes
ME: But shall be render'd to your public laws (Dyce)
Timon v.iv.62
Fi: Will cheere me euer, or dif-eate me now.
F2: Will cheere me ever, or difeafe me now.
ME: Will cheer me ever or disseat me now. (Steevens)
Macbeth v.iii.21
Fi: What Rubarb, Cyme, or what Purgatiue drugge
F2: What Rubarb, Casny, or what Purgative drug
ME: What rhubarb, senna, or what purgative drug (F4)
Macbeth v.iii.55
Fi: thus had he and mine more of the fame Beauy
F2: thus had he and nine more of the fame Beauy
ME: Thus has he — and many more of the same bevy, (Qq)
Hamlet v.ii.183
Fi: I fl would time expend with fuch Snpe,
F2: If I would time expend with fuch a Swaine,
ME: If I would time expend with such a snipe (Qq)
Othello i.iii.379
Fi: For of my heart, thofe Charmes thine Eyes, are blotted*
F2: For off my heart, thofe Charmes thine Eyes, are blotted"
ME: Forth of my heart those charms, thine eyes, are blotted'
(Qq)
Othello v.i.35
Fl : I fay againe, thy fpirit
Is all affraid to gouerne thee neere him :
But he alway 'tis Noble.
F2: But he alway is Noble.
ME: But he away, 'tis noble. (Pope)
Antony 11.iii.31
Fi: Thou diuine Nature; thou thy felfe thou blazon'ft
In thefe two Princely Boyes:
F2: Thou divine Nature; thy felfe thou blazon'ft
ME: Thou divine Nature, how thyself thou blazon 'st (Pope)
Cymbeline 1v.ii.171
II. Action
A. Stage-directions are emended.
Fi: Enter CxJar,...Artimedoriis, Pub-\lius, and the Soothjayer.
F2: ...Artemidorus, Popi-\lius,...
Caesar iii.i.i s.d.
SUPERSEDED: ACTION: A 179
[Possibly a mistake in correction; as both Publius and Popilius are wanted, the
reviser may have intended to add the latter's name rather than to substitute it for
PubHus's.]
B. Speeches are redistributed.
Labour's i.ii.138, assigned to Clo[wn] in Fi, is added to the pre-
ceding speech of Mai[d]; modern editors, following Theobald, give
it to Dull.
At Labour's v.ii.164, 170, F2 (following the mistake at 1. 159, where
Boyet's first jeer is given to Biron) gives all Boyet's speeches to
Biron.
In Fi, Troilus 1v.iv.56, 57 are both assigned individually to
Troy[liis]\ ¥2 omits this speech-prefix at 1. 57. Modern editors, follow-
ing Q, omit it at 1. 56 instead, thereby adding that line to the pre-
ceding speech of Cref[sida].
At the end of 11. ii in Romeo, four lines from the friar's speech which
begins the next scene, "The gray ey'd morne.. .Titans wheeles"
(ii.iii.1-4), with slight verbal differences, are inserted in Romeo's
final speech between 1. 188 and 1. 189. In F2 this interpolation is
allowed to stand and the four lines are taken away from the friar's
speech in ii.iii, which thus begins "Now ere the Sun advance his
burning eye." In modern editions these lines are excised from
Romeo's speech and restored to the friar, after Qi and Pope.
Romeo iii.ii.71-2, ("Did Romeos hand," etc.) assigned to Iul[iet] in
Fi, is transferred to Nitr[se]; modern editors, following Qi, give the
nurse only 1. 72.
III. Meter
A. Verses are lengthened or shortened to improve their rhythm.
Fi: It is mine, or Valentines praife?
F2: Is it mine then, or Valentineans praife.?
ME: Is it mine eye, or Valentinus' praise, (Theobald)
Gefillemen 11.iv.192
Fi : Which of you faw Eglamoure of late?
F2: Which of you fay faw Sir Eglamoure of late?
ME: Which of you saw Sir Eglamour of late? (F4)
Gentlemen v.ii.32
Fi: A meane woman was deliuered
F2: A poore meane woman was delivered
ME: A meaner woman was delivered (Delius)
Errors i.i.55
Fi: Which being violently borne vp,
F2: W^hich being violently borne up upon,
ME: Which, being violently borne upon, (Pope)
Errors i.i.103
[Possibly an imperfect correction, the intention having been to strike out vp.\
180 CHANGES IN THE SECOND FOLIO
Fi: We talke with Goblins, Owles and Sprights;
F2: We talke with Goblins, Owles and Elves Sprights;
ME- We talk with goblins, owls, and elvish sprites: (Rowe)
Errors ii.ii.189
Fi: Dromio, thou Dromio, thou fnaile, thou Aug, thou fot.
F2: Dromio, thou Dromio, fnaile, thou Aug, thou fot.
ME: Dromio, thou drone, thou snail, thou slug, thou sot!
(Theobald)
Errors Ii.ii.193
Fi: For euer hows'd, where it gets poffeffion.
F2: For ever hows'd, where it once gets poffeffion.
ME: For ever housed where it gets possession, (Singer)
Errors ill. i. 106
Fi: And then fir fhe beares away. Our fraughtage fir,
F2: Then fir fhe beares away. Our faugh tage fir,
ME: And then she bears away. Our fraughtage, sir, (Capell)
Errors iv.i.88
Fi: Would the Princes lie, and Clandio lie,
F2: Would the Prince lie, and Claudio would he lie
ME: Would the two princes lie? and Claudio lie, (Q)
Much Ado IV. i. 152
Fi: Nor let no comfort delight mine eare,
F2: Nor let no comfort els delight mine eare,
ME: Nor let no comforter delight mine ear (Q)
Much Ado v.i.6
Fi: That were to clymbe ore the houfe to vnlocke the gate.
F2: That were to clymbe ore the houfe t'unlocke the gate.
ME: Climb o'er the house to unlock the little gate. (Qi)
Labour s i.i.109
Fi: What, what? Firft praife me, & then again fay no.
F2: What, what? Firft praife me, then againe fay no.
ME: What, what? first praise me, and again say no? (Qi)
Labour's iv.i.14
Fi: What will Berowne fay when that he fhall heare
Faith infringed, which fuch zeale did fweare.
F2: A faith infringed, which fuch a zeale did fweare.
ME: Of faith (Walker) or Faith so (Globe) infringed, which
such zeal did swear?
Labour's 1v.iii.142
(Qi)
SUPERSEDED: METER: A 181
Fi: With men, like men of inconftancie.
F2: With men, like men of ftrang inconflancy.
ME: With men like you, men of inconstancy. (Dyce)
Labour s 1v.iii.176
Fi: Prife your felues: W^hat buyes your companie?
F2: Prife your felves then: what buyes your company?
ME: Prize you yourselves? what buys your company? (Qi)
Labour's v.ii.224
Fi: For ought that euer I could reade,
F2: Hermia for ought that ever I could reade,
ME: Ay me! for aught that I could ever read, (Qq)
Dream i.i.132
Fi: Becaufe in choife he is often beguil'd,
F2: Becaufe in choife he often is beguil'd,
ME: Because in choice he is so oft beguil'd. (Qi)
Dream i.i.239
[See p. 43-]
Fi: For parting vs; O, is all forgot?
F2: For parting us; O and is all forgot.''
ME: For parting us, O! is it all forgot? (Globe)
Dream Ii1.ii.201
Fi: When I come where he cals, then he's gone.
F2: When I come where he cals me, then he's gone.
ME: When I come where he calls, then he is gone. (Qi)
Dream 111.ii.414
Fi: When thou wak'ft, with thine owne fooles eies peepe.
F2: When thou awak'ft, with thine owne fooles eyes peepe.
ME: Now, when thou wakest, with thine own fool's eyes peep.
Dream iv.i.81
Fi: And findes his Thisbies Mantle flaine;
F2: And findes his gentle Thisbies Mantle, flaine;
ME: And finds his trusty Thisby's mantle slain: (Qq)
Dream v.i.144
Fi: And out of doubt you doe more wrong
F2: And out of doubt you doe to me more wrong
ME: And out of doubt you do me now more wrong (Qq)
Merchant i.i.155
Fi : Shall lofe a haire through Baffano's fault.
F2: Shall lofe a haire through my Baffanio's fault.
182 CHANGES IN THE SECOND FOLIO
ME: Shall lose a hair thorough Bassanio's fault. (Steevens)
Merchant 111.ii.304
Fi : Or euen as well vfe queflion with the Wolfe,
The Ewe bleate for the Lambe:
You may as well forbid the Mountaine Pines
To wagge their high tops,
F2: The Ewe bleate for the Lambe: when you behold,
ME: Why he hath made the ewe bleat for the lamb; (Qq)
Merchant iv.i.74
Fi: My friend Stephen, fignifie pray you
F2: My friend Stephana fignifie pray you
ME: My friend Stephano, signify, I pray you, (Qi)
Merchant v.i.51
Fi: And her with-holds from me. Other more
Suters to her, and riuals in my Loue:
F2: And her with-holds hee from me. Other more
ME: And her withholds from me and other more, (Capell)
Shreiv i.ii.118
Fi: No fuch lade as you, if me you meane.
F2: No fuch lade fir as you, if me you meane.
ME: No such load, sir (Singer) or No such jade as bear you
(Dyce) or No such a jade (Walker)
Shrew 11. i. 200
Fi: Make friends, inuite, and proclaime the banes,
F2: Make friends, invite, yes and proclaime the banes,
ME: Make feasts, invite friends, and proclaim the banns;
(Dyce)
Shrew iii.ii.i6
Fi: As before [i]mparted to your worfhip,
F2: As before I imparted to your worfhip,
ME: As I before imparted to your worship, (Pope)
Shrew 111.ii.126
Fi : What faid the wench when he rofe againe?
F2: What faid the wench when he rofe up againe?
ME: What said the wench when he arose again? (Steevens)
Shrew 111.ii.162
Fi : Hides my heart : fo let me heare you fpeake.
F2: Hides my poore heart: fo let me heare you fpeake.
ME: Hideth my heart. So, let me hear you speak. (Delius conj.)
Twelfth Night ui.i.iig
SUPERSEDED: METER: A 183
Fi: How I am gall'd, might'Il be-fpice a Cup,
F2: How I am gall'd, thou might'ft be-fpice a Cup,
ME: How I am galled, — mightst bespice a cup, (Malone)
Winter's Tale i.ii.316
Fi: Then one condemnd by the Kings owne mouth:
F2: Then one condemned by the Kings owne mouth;
ME: Than one condemn'd by the king's own mouth, thereon
(Capell)
Winter's Tale i.ii.445
Fi: Through my Ruft? and how his Pietie
F2: Through my darke Ruft? and how his Pietie
ME: Thorough my rust! and how his piety (Malone)
Winter's Tale iii.ii.i68
Fi: Anoynted, Crown'd, planted many yeeres,
F2: Anoynted, Crown'd and planted many yeeres,
ME: Anointed, crowned, planted many years, (Qq)
Richard II iv.i.127
Fi: Cofm, on Wednefday next, our Councell we will hold
At Windfor, and fo informe the Lords:
F2: At Windfor, fo informe the lords:
ME: Cousin, on Wednesday next our council we
Will hold at Windsor; so inform the lords: (Pope)
/ Henry IV i.i. 103-4
Fi: As Cloudie men vfe to doe to their aduerfaries,
F2: As Cloudy men ufe to do their adverfaries,
ME: As cloudy men use to their adversaries, (Qq)
■^ I Henry /Fiii.ii.83
Fi: Whofe ruine you fought, that to her Lawes
F2: Whofe ruine you three fought, that to her Lawes
ME: Whose ruin you have sought, that to her laws (Qq)
Henry V Ii.ii.176
Fi: Fight till the lafl gafpe: He be your guard.
F2: Fight till the lafl gafpe: for He be your guard.
ME: Fight till the last gasp; I will be your guard. (Capell)
I Henry VI i.ii.127
Fi: Since I haue entred into thefe Warres.
F2: Since I have entred thus into thefe Warres.
ME: Since I have entered into these wars. (Malone)
/ Henry VI i.ii.132
Fi : Glojler, wee'le meet to thy coft, be fure :
F2: Gloster, we'll meet to thy deare coft be fure:
184 CHANGES IN THE SECOND FOLIO
ME: Gloucester, we will meet; to thy cost, be sure: (Cam-
bridge)
/ Henry VI i.iii.Si
Fi: God b'uy my Lord, we came but to tell you
F2: God b'uy my Lord, we came fir but to tell you
ME: God be wi' you, my lord! we came but to tell you (Rowe)
/ Henry VI 11i.ii.73
Fi: Shee's tickled now, her Fume needs no fpurres,
F2: Shee's tickled now, her Fume can neede no fpurres,
ME: She's tickled now; her fury needs no spurs, (White)
2 Henry VI i.iii.148
Fi: Thou would' ft not haue mourn 'd fo much for me.
F2: Thou would' ft not halfe have mourn 'd fo much for me.
ME: Thou wouldest not have mourn'd so much for me. (Theo-
bald)
2 Henry VI iv.iv.24
Fi: Forthwith that Edward be pronounc'd a Traytor,
And all his Lands and Goods confifcate.
F2: And all his Lands and Goods confifcated.
ME: And all his lands and goods be confiscate. (Malone)
J Henry VI iv.vi.55
Fi: Yea, and like faire Fruit in an vnholdfome difh,
F2: And like faire Fruit in an unholfome difh,
ME: Yea, like fair fruit in an unwholesome dish, (Q)
Troilits Ii.iii.ii6
Fi: Since things in motion begin to catch the eye,
Then what not ftirs:
F2: Since things in motion 'gin to catch the eye,
ME: Since things in motion sooner catch the eye (Q)
Troiliis iii.iii. 1 83
Fi: Men. What work's my Countrimen in hand?
Where go you with Bats and Clubs? The matter
Speake I pray you.
F2: Where go you with your Bats and Clubs? The matter
ME: Men. What work's, my countrymen, in hand? Where
go you
With bats and clubs? The matter? Speak, I pray you.
(Theobald)
Coriolanus i.i.53-4
Fi: Volum. Becaufe, that
Now it lyes you on to fpeake to th'people:
Not by your owne inflruction, nor by'th'matter
SUPERSEDED: METER: A 185
Which your heart prompts you, but with fuch words
That are but roated in your Tongue;
F2: Which your heart prompts you to, but with fuch words
ME: lines redistributed (Malone)
Coriolamis 111.ii.54
Fi: Heere grow no damned grudges, heere are no ftormes,
F2: Heere grow no damned grudges, heere no llormes,
ME: Here grow no damned drugs, here are no storms, (Q)
Titus i.i.154
Fi : Was none in Rome to make a Hale
But Saturnine}
F2: Was there none els in Rome to make a flale of
ME: Was there none else in Rome to make a stale (Boswell)
Titus i.i.304
Fi: Speechleffe complaynet, I will learne thy thought:
F2: Speechleffe complaint, O I will learne thy thought:
ME: Speechless complainer, I will learn thy thought; (Capell)
Titus iii.ii.39
Fi: A ficke man in fadneffe makes his will:
F2: A ficke man in good fadneffe makes his will:
ME: Bid a sick man in sadness make his will; (Qq)
Romeo i.i.200
Fi: Earth hath fwallowed all my hopes but Ihe,
F2: Earth up hath fwallowed all my hopes but fhe,
ME: The earth hath swallow'd all my hopes but she, (Q4)
Romeo i.ii 14
Fi
F2
ME
Doeft thou Loue? I know thou wilt fay I,
Doeft thou Love? O I know thou wilt fay I,
Dost thou love me? I know thou wilt say 'Ay'; (Qq)
Romeo 11.ii.90
Fi: And make her ayrie tongue more hoarfe, then
With repetition of my Romeo.
F2: And make her ayry tongue more hoarfe, then with
The repetition of my Romeo,
ME: And make her airy tongue more hoarse than mine.
With repetition of my Romeo's name. (Q4)
Romeo 11. ii. 162-3
Fi : And with a filken thred plucks it backe againe,
F2: And with a filken thred plucks it againe,
ME: And with a silk thread plucks it back again, (Pope)
Romeo ii.ii.i8i
186 CHANGES IN THE SECOND FOLIO
Fi: Thy old grones yet ringing in my auncient eares:
F2: Thy old grones yet ring in my auncient eares:
ME: Thy old groans ring yet in my ancient ears; (Pope)
Romeo 11.iii.74
Fi: O what a beafl was I to chide him.^
F2: O what a beafl was I to chide him fo?
ME: O! what a beast was I to chide at him. (Qq)
Romeo 111.ii.95
Fi: Then fond Mad man, heare me fpeake.
F2: Fond Mad man, heare me fpeake.
ME: Thou fond mad man, hear me but speak a word. (Qi)
Romeo 111.iii.52
Fi: But like a mifhaped and fullen wench,
F2: But like a mif-fhaped and a fullen wench,
ME: But, like a misbehav'd and sullen wench, (Qi)
Romeo 111.iii.143
Fi: All night for leffe caufe, and nere beene ficke.
F2: All night for a leffe caufe, and neere beene ficke,
ME: All night for lesser cause, and ne'er been sick. (Q)
Romeo iv.iv. 10
Fi: Flower as fhe was, deflowred by him.
F2: Flower as fhe was, deflowred now by him.
ME: Flower as she was, deflowered by him. (Steevens)
Romeo iv.v.37
Fi: And your great flow of debts; my lou'd Lord,
F2: And your great flow of debts; my deare lov'd Lord,
ME: And your great flow of debts. My loved lord, (Collier)
Timon ii.ii.143
Fi: Macb. The Thane of Cawdor Hues:
Why doe you dreffe me in borrowed Robes?
F2: Why doe you dreffe me in his borrowed Robes?
ME: Macbeth. The Thane of Cawdor lives: why do you
dress me
In borrow'd robes? (Capell)
Macbeth i.iii. 108-9
Fi : That you bend your eye on vacancie,
F2: That thus you bend your eye on vacancy,
ME: That you do bend your eye on vacancy (Qq)
Hamlet iii.iv. 117
Fi: Neuer afilict your felfe to know more of it:
F2: Never afilict your felfe to know of it:
SUPERSEDED: METER: A 187
ME: Never afflict yourself to know the cause; (Qq)
Lear i.iv.291
Fi: And layd good fcufes vpon your Extafie,
F2: And laid good fcufes on your Extafie,
ME: And laid good 'scuse upon your ecstasy; (Qq)
Othello iv.i.79
B. Prose is arranged as verse.
Shrew iii.ii. 163-79, printed as 14 lines of prose in Fi, is divided
into 16 lines of verse [ME: 17 lines (Steevens)].
IV. Grammar
A. Inconsistencies are corrected.
1. Tense and/or mood of verbs.
Fi: And Hymen now with luckier iffue fpeeds,
Then this for whom we rendred vp this woe.
F2: And Hymen now with luckier iffue fpeed;
ME: And Hymen now with luckier issue speed' [u]s, (Theobald)
Much Ado v.iii.32
Fi: O were fauor fo,
Your words I catch, faire Hermia ere I go,
F2: Your words Ide catch, faire Hermia ere I go,
ME: Yours would I catch, fair Hermia, ere I go; (Hanmer)
Dream i.i.187
Fi: He was fome hielding Fellow, that had flolne
The Horfe he rode-on : and vpon my life
Speake at aduenture.
F2: Spake at adventure.
ME: Spoke at a venture. (Q)
2 Henry I V 1.1.59
Fi: Hardly gaue audience
Or vouchfafe to thinke he had Partners.
F2: Or did vouchfafe to thinke he had Partners.
ME: Vouchsaf d to think he had partners: (Johnson)
Antony i.iv.S
2. Number of verbs.
[We omit seven examples {Winter's Tale 1v.iv.482, j Henry VI i.iv.150, ii.vi.6,
Romeo v.iii.i3S, Macbeth 1n.iv.78, n1.vi.26, Antony i.ii.120) listed by Professor Smith
(Englische Studien XXX. 8-12, 1902).]
Fi : Layes downe his wanton hedge before her beautie,
Refolue to carrie her:
188 CHANGES IN THE SECOND FOLIO
F2: Refolves to carry her:
ME: Resolv'd to carry her: (Collier)
Airs Well 111.vii.19
3. Number of nouns.
[We omit four examples (Errors v.i.401, Titus v.i.137, Romeo ii.iv.66, Othello
iv.ii.171) listed by Professor Smith (ut supra pp. 10-13).]
Fi: Wherein my Letters, praying on his fide,
Becaufe I knew the man was flighted off.
F2: Wherein my Letter, praying on his fide,
ME: Because I knew the man, were slighted off. (Malone)
Caesar iv.iii.4-5
Fi: This prefent Warres againft the Ottamites.
F2: This prefent warre againft the Ottomites. (Qo)
ME: These present wars against the Ottomites. (Malone)
Othello i.iii.234
4. Case.
Fi: Card. With a true heart,
And Brother; loue I doe it.
F2: And Brothers love I doe it.
ME: And brother-love I do it. (Malone)
Henry VIII v.iii.172
Fi: Are them thy Minifters, what are they call'd?
F2: Are they thy Minifters, what are they call'd?
ME: Are these thy ministers? what are they call'd? (Dyce)
Titus v.ii.6i
Fi: obey thy Pa- [rents, keepe thy words luftice, fweare not,
F2: obey thy Pa- [rents, keepe thy word, juftice, fweare not,
ME: Obey thy parents; keep thy word justly; swear not;
(Pope)
Lear iii.iv.8o
5. Degree in adjectives.
Fi: but flies the grafpes of loue,
With wings more momentary, fwift then thought:
F2: With wings more momentary, (wifter then thought:
ME: With wings more momentary-swift than thought. (Pope)
Troiliis 1v.ii.14
B. Omitted words thought necessary to completeness of sentence
structure are inserted.
Fi : To liften our purpofe,
SUPERSEDED: GRAMMAR: B 189
F2: To liften to our purpofe,
ME: To listen our propose. (Q)
Miich Ado iii.i.i2
Fi: Art thou thou the flaue that... | haft kild mine innocent
childe.''
F2: Art thou art thou the flave...
ME: Art thou the slave... (Q)
Much Ado v.i.249
Fi: Why fay my Lords ha's done faire feruice,
F2: Why I fay my Lords ha's done faire fervice,
ME: I say, my lords, he has done fair service. (Pope)
Timon iii.v.62
Fi: As whence the Sunne 'gins his reflection,
Shipwracking Stormes, and direfull Thunders:
So from that Spring, whence comfort feem'd to come,
Difcomfort fwells:
F2: Shipwracking Stormes, and direfull Thunders breaking
ME: Shipwracking storms and direful thunders break, (Pope)
Macbeth i.ii.26
Fi: Yet if you pleafe, to him off a-while:
F2: Yet if you pleafe, to put him off a-while:
ME: Yet, if you please to hold him ofT awhile, (Qq)
Othello 111.iii.252
C. A dependent sentence element is transformed into an inde-
pendent clause.
Fi : Come to me Tirrel foone, and after Supper,
When thou fhalt tell the proceffe of their death.
F2: When thou there fhalt tell the proceffe of their death.
ME: Come to me, Tyrrell, soon at after supper,
And thou shalt tell the process of their death. (Qq)
Richard III iv.iii.31-2
[We are inclined to regard this as an incomplete correction: the reviser intended
"Thou there shalt tell."]
V. Style
A. The current form is substituted for an obsolescent word.
Fi: Speake of all loues; I found almoft with feare.
F2: Speake of all loves; I f wound almoft with feare.
ME: Speak, of all loves! I swoon almost with fear. (Qi)
Dream 11.ii.154
190 CHANGES IN THE SECOND FOLIO
B. Attempts are made to correct words and phrases in foreign
languages.
Fi: vem-\chie, vencha, que non te vnde, que non te perreche.
F2: Vene-\chi, venachea, qui non te vide, i non te piaech.
ME: Venetia, Venetia,
Chi non ti vede non ti pretia. (Cambridge)
Labour's iv.ii.92-3
Fi: bien vonuto,
F2: bie7t venuto,
ME: ben venuto; (Rowe)
Labour's 1v.ii.148
Fi : Contutti le core bene trobatto,
F2 : Con- 1 tutti le core bene trovatto,
ME: Con tutto il cuore ben trovato, (Theobald)
Shrew i.ii.24
Fi : Et vouz oufie vojlre Jeruiture.
F2: Et vouz aufie vojlre Jerviteure.
ME: Et vous aussi; votre serviteur.
Twelfth Night iii.i.69
French corrected passim.
Henry V lli.iv.
At Labour's i.ii.174, Twelfth Night i.v.295, ii.v.186, 1v.iii.35'
Finis Actus Primus (fecundus , quartus) is correctly changed to prinii
(fecundi, quarti), but these sporadic notations are omitted in modern
editions. At Shrew iii.i.i and Titus ii.i.i, Actus Tertia (Secunda)
is correctly changed to Actus Tertius (Secundus) .
C. Attempts are made to correct the spelling of proper names, etc'
Antipholis Errotis to Antipolis Erotes [ME: Antipholus of Syra"
cuse] {Errors ii.ii.i s.d.)
Appollonem to Apollonem [ME: Apollinem] (Titus 1v.iii.53)
A(u)fifidious to Auffidius [ME: Aufidius] {Coriolanus i.v.io, i.vi.54,
59).
Burdeux to Burdeaux [ME: Bourdeaux] {Henry VIII i.i.g6)
Camidias, Camindius to Camidius [ME: Canidius] {Antony iii.
vii.2o, iv.vi.i6)
Longauill to Longavile [ME: Longaville] {Labour's ten times)
Mandragoru to Mandragoras [ME: mandragora] {Antony i.v.4)
Murrellus to Murellus [ME: Marullus] {Caesar i.ii.284)
Ouergne to Auergne [ME: Auvergne] {i Henry VI ii.ii.38)
Pathan to Panthaeon [ME: Pantheon] {Titus i.i.242)
Penbrooke to Rembrooke [typographical error for Pembrooke;
ME: Pembroke] {3 Henry VI iv.i.8)
SUPERSEDED: STYLE: C 191
Ryalta to Ryalto {Merchant i.iii.iS, 33)
Thebe to Ph^be [ME: Phoebe] {Titus i.i.316)
D. The rime is restored in defective riming passages.
Fi : And fhape his feruice wholly to my deuice,
And make him proud to make me proud that iefts.
F2: And fhape his fervice all to my behefts,
ME: And shape his service wholly to my hests, (Dyce)
Labour's v.ii.65
Fi: Sweet Moone, I thank thee for thy funny beames,
I thanke thee Moone, for fhining now fo bright:
For by thy gracious, golden, glittering beames,
I truft to tafte of trueft Thisbies fight.
Fo: For by thy gracious, golden, glittering ftreames,
ME: For, by thy gracious, golden, glittering gleams, (Staun-
ton)
Dream v.i.266
INTELLIGIBLE CHANGES NOT ADOPTED BY MOST MODERN
EDITORS
I. Thought
A. Fancied inconsistencies of fact and circumstance are corrected.
Fi : Our fraughtage fir,
I haue conuei'd aboord, and I haue bought
The Oyle, the Baljamum, and Aqua-vitae.
F2: I have convei'd aboord, and I haue brought
Errors iv.i.80
rime;
Fi: I can finde out no | rime to Ladie but babie, an innocent
F2: ...but I badie an innocents rime:
Much Ado v.ii.34
[See p. 39.]
Fi : Time. ...I mentioned a fonne o'th'Kings, which Florizell
I now name to you:
F2: Tim. ...I mention here a fonne o'th'Kings, which
Florizell
Winter's Tale iv.i.22
[See p. 39.]
Fi : We loofe the better halfe of our Poffeffion :
F2: We lofe the better part of our Poffeffion:
Henry V i.i.8
192 CHANGES IN THE SECOND FOLIO
Fi : Yet god Achilles ilill cries excellent,
F2: Yet good Achilles flill cryes, excellent,
Troilus i.iii.169
Fi: Ant. Go Eros, fend his [Enobarbus's] Treafure after,
do it,
... Oh my Fortunes haue
Corrupted honed men. Difpatch Enobarbus. Exit
F2: Corrupted honefl men. Difpatch Eros. Exit.
Antony iv.v.17
[ME: Despatch. — Enobarbus!]
B. Fancied corruptions are corrected.
Fi: A thoufand oathes, an Ocean of his teares.
And inftances of infinite of Loue,
F2: And inftances as infinite of Love,
Gentlemen 11.vii.70
Fi: Ford. Pardon me (wife) henceforth do what y wilt:
I rather will fufpect the Sunne with gold,
Then thee with wantonnes: Now doth thy honor ftand...
As firme as faith.
F2: As firme of faith.
Merry Wives iv.iv.io
Fi : Do not thefe faire yoakes
Become the F'orreft better then the Towne.^
F2: Doe not thefe faire Okes
Merry Wives v.v.105
Fi : That his attendant, lo his cafe was like.
Reft of his brother, but retain'd his name,
F2: That his attendant, (for his cafe was like.
Reft of his brother, but retain'd his name,)
Errors i.i.128
Fi: Prin. But foft you, let me be, plucke vp my heart,
and I be fad, did he not fay my brother was fled?
F2: Prin. But foft you, let me fee,...
Much Ado v.i.195
Fi : The pray full PrinceJJe pearjl and prickt
a prettie pleafing Pricket,
F2: The praysfull PrinceJJe...
Labour's iv.ii.54
Fi: the I word is well culd, chofe, fweet, and apt
F2: the I word is well culd, choife, fweet, and apt
Labour's v.i.80
INTELLIGIBLE: THOUGHT: B 193
F] : Abate throw at Novum,
F2: A bare throw at Novum,
Labour's v.ii.540
[In view of the difficulties which modern editors have in explaining this phrase,
the emendation of F2 seems by no means despicable, five being one of the throws at
novum.]
Fi: why thou loffe vpon loffe, the theefe gone with fo | much,
and fo much to finde the theefe,
F2: why then loffe upon loffe,...
Merchant 111.1.79
Fi: And doe not feeke to take your change vpon you.
To beare your griefes your felfe, and leaue me out:
F2: And doe not feeke to take your charge upon you.
As You Like It i.iii.98
Fi : Wearing thy hearer in thy Miflris praife,
F2: Wearying thy hearer in thy Miftris praife,
As You Like It 11. i v. 3 5
Fi: an olde mo- 1 thy faddle, and flirrops of no kindred:
F2: an old mothy fad- 1 die, the ftirrops of no kindred:
Shrew 111.ii.46
Fi: Giue you all greetings, that a King (at friend)
Can fend his Brother:
F2: Give you all greetings, that a King (as friend)
Winter's Tale v.i.140
Fi: Wilt thou, O God, flye from fuch gentle Lambs,...
When didft thou fleepe, when fuch a deed was done?
F2: Why didfl thou fleepe, when fuch a deed was done?
Richard III 1v.iv.24
Fi: Mine owne ends
Haue beene mine fo, that euermore they pointed
To'th'good of your moft Sacred Perfon,
F2: Have beene fo, that evermore they pointed
Henry VIII iil.ii.172
Fi: O that I thought it could be in a woman:
As if it can, I will prefume in you,
To feede for aye her lampe and flames of loue.
F2: And if it can, I will prefume in you,
Troilus 111.ii.155
Fi : alone he entred
The mortall Gate of th'Citie, which he painted
194 CHANGES IN THE SECOND FOLIO
With fhunleffe deftinie:
F2: With fhunleffe defamy:
Coriolaniis ii.ii.iio
Fi: But Titus, I haue touch'd thee to the quicke,
Thy life blood out:
F2: Thy life blood ont:
Tittis 1v.iv.37
[See p. 19.]
Fi: It feemes fhe hangs vpon the cheeke of night,
F2: Her Beauty hangs upon the cheeke of night,
Romeo i.v.43
Fi : I [Senator.] Thou haft painfully difcouer'd : are his Files
As full as thy report?
F2: As full as they report?
Timon v.ii.2
[See p. 40.]
Fi : Cains Ligarius doth beare Cxjar hard,
Who rated him for fpeaking well of Pompey;
F2: Cains Ligarius doth beare Csejar hatred,
Caesar ii.i.215
[See p. 40.]
Fi: Whom we, to gayne our peace, haue fent to peace,
F2: Whom we, to gayne our place, have fent to peace:
Macbeth 111.ii.20
Fi: yE^nil. ...Then let them vfe vs well: elfe let them know,
The illes we do, their illes inftruct vs fo.
F2: The illes we doe, their illes inftruct us to.
Othello iv.iii.ioi
Fi: When vantage like a payre of Twinnes appear 'd
Both as the fame, or rather ours the elder;
F2: Both of the fame, or rather ours the elder;
Antony iii.x.13
Fi: I had you downe, and might
Haue made you finiih.
F2: Have made your finifh.
Cymbeline v.v.412
C. In undoubtedly corrupt passages, mistaken corrections are
made.
Fi : yet the gold bides ftill
That others touch, and often touching will,
INTELLIGIBLE: THOUGHT: C 195
Where gold and no man that hath a name,
By falfhood and corruption doth it fhame :
Since that my beautie cannot pleafe his eie,
He weepe
F:;: yet the gold bides llill
That others touch, and often touching will:
Since that my beautie cannot pleafe his eie,
He weepe
Errors ii.i.112-3
Fi: When for Fames fake, for praife an outward part,
We bend to that, the working of the hart.
F2: When for Fames fake, to praife an outward part.
Labour's iv.i.32
Fi : moue the ftill-peering aire
That lings with piercing,
F2: move the fti 11 -piercing aire
That ftings with piercing,
AIVs Well III. ii. 109
Fi: How now ambitious Vmpheir,
F2: How now ambitious Vmpire,
/ Henry VI i.iii.29
[ME: Humphrey (Theobald).]
Fi: Troy. ... but be not tempted.
Cref. Doe you thinke I will:
Troy. No,
F2: Cref. Doe not thinke I will:
Troiliis iv.iv.91
Fi: Dio. But will you then?
Cref. In faith I will lo; neuer truft me elfe.
F2: Cref. In faith I will goe; never truft me elfe.
T roil us v.ii.58
Fi: If rather then to marrie Countie Paris
Thou hafl the ftrength of will to ftay thy felfe,
F2: Thou hafl the ftrength of will to lay thy felfe,
Romeo iv.i.72
[Probably an imperfect correction: the reviser intended slay, which is the reading
of F3 and of ME.]
Fi: Alacke, alacke, is it not like that I
So early waking, what with loathfome fmels.
And fhrikes like Mandrakes torne out of the earth.
That liuing mortalls hearing them, run mad.
O if I walke, fhall I not be diftraught,
196 CHANGES IN THE SECOND FOLIO
Inuironed with all thefe hidious feares,
F2: Or if I walke, fliall I not be diflraught,
Romeo 1v.iii.49
Fi: And all thisan day an vccustom'd fpirit,
Lifts me aboue the ground with cheerefull thoughts.
F2: And all this winged vnaccustom'd fpirit,
Romeo v.i.4
Fi: Mufl I be his laft Refuge? Kis Friends (like Phyfitians)
Thriue, giue him ouer: Mull I take th'Cure vpon me?
F2: Muft I be his laft Refuge? his friend: (like Phyfitians)
That thriu'd, give him over. Mull I take th'Cure upon me?
Timon Ii1.iii.12
Fi: And with their corporall ayre do hold difcourfe.
F2: And with the corporall ayre doe hold difcourfe.
Hamlet iii.iv.ii8
Fi : I haue a fpeech of fire, that faine would blaze,
But that this folly doubts it.
F2: But that this folly drownes it.
Hamlet 1v.vii.192
Fi: Though I do hate him as I do hell apines,
F2: Though I doe hate him as I doe hell,
Othello i.i.155
Fi: Neither my place, hor ought I heard of bufmeffe
Hath rais'd me from my bed;
F2: Neither my place, for ought I heard of bufmeffe
Othello i.iii.53
Fi: Be pleas'd to tell vs,
(For this is from the prefent now you take)
The offers we haue fent you.
F2: (For this is from the prefent now you talke)
Antony 11.vi.30
[ME: (For this is from the present) how you take (Theobald).]
Fi: When the beft hint was giuen him: he not look't,
Or did it from his teeth
F2: When the befl hint was given him: he had look't,
Antony iii.iv.9
[ME: he not took't (Theobald).]
Fi : the Law
Protects not vs, then why fhould we be tender,
To let an arrogant peece of flefh threat \s?
INTELLIGIBLE: THOUGHT: C 197
Play ludge, and Executioner, all himfelfe?
For we do feare the Law.
F2: For we do feare no Law.
Cymheline 1v.ii.130
Fi: Sooth. Laft night, the very Gods Ihew'd me a vifion
(I faft, and pray'd for their Intelligence) thus:
F2: (I feaft, and pray'd for their Intelligence) thus:
Cymheline 1v.ii.348
II. Action
A. Stage-directions are emended.
Fi: Enter Armado and Moth his Page.
F2: Enter Armado a Braggart, and Moth his Page.
Labour's i.ii.i
Fi: Enter Diomed and Seruants-
Dio. Goe, goe, my feruant, take thou Troylus Horfe;
F2: Enter Diomed and Servant.
Troiliis v.v.i
B. Speeches are redistributed.
Henry V iv.viii. 104-10, printed in Fi as an indented verse-para-
graph without speech-prefix, is assigned to King] ME simply add
it to the preceding speech of the king's.
Antony il.iii.8 Good night Sir, which forms the last line of Antony's
speech in Fi, is given to Octa[via] in F2, doubtless on the assumption
that Antony's Goodnight Sir at 1. 4 is sufficient for Caesar and that
Octavia should not leave without speaking to him.
III. Meter: Verses are lengthened or shortened to improve
their rhythm.
[These readings have been adopted by a few modern editors or they have given
way in some modern editions to conjectural emendations. In either case, most modern
editors follow Fi.]
Fi: In what you pleafe, iie doe what I can.
F2: In what you pleafe, ile doe Sir what I can.
Gentlemen 1v.iv.39
Fi : Without the fhew of both : fat Faljlaffe
¥2: Without the fhew of both: fat Sir John Faljlaffe
Fi: So he gone, you are Jped.
F2: So he gone fir, you are Jped.
Merry Wives iv.vi.i6
Merchant 11.ix.72
198 CHANGES IN THE SECOND FOLIO
Fi: Of fuch miferie, doth fhe cut me off:
F2: Of fuch a mifery, doth fhe cut me off:
Merchant iv.i.267
Fi: Like a ripe fifter: the woman low
F2: Like a ripe fifter: But the woman low
As Yon Like It iv.iii.86
Fi: To make one among thefe wooers; if thou ask me why,
F2: To make one 'mong thefe wooers; if thou aske me why,
Shrew i.i.240
Fi; To my daughters, and tell them both
F2: To my two daughters, and then tell them both
Shrew ii.i.io8
Fi: Shall haue my Biancas loue.
F2: Shall have Biancas love.
Shrew 11. i. 336
Fi: For fuch an iniurie would vexe a very faint,
F2: For fuch an injury would vexe a faint,
Shreiv iii.ii.28
Fi: Go with me to cloath you as becomes you.
F2: Goe with me fir to cloath you as becomes you.
Shreiv 1v.ii.120
Fi: And happilie I haue arriued at the laft
F2: And happily I have arriv'd at laft
Shreiv v.i.113
Fi: What V^'heeles? Racks? Fires? What flaying? boyling?
F2: What Wheeles? Racks? Fires? What flaying? boyling?
Burning,
Winter's 7"a/e 111.ii.173
Fi: Or Ethyopians tooth, or the fan'd fnow, that's bolted
By th'Northerne blafts, twice ore.
F2: Or Ethyopians tooth, or the fan'd fnow,
That's bolted by th'Northerne blafl, twice ore.
Winter's Tale iv.iv. 356-7
Fi: A third thinkes, without expence at all,
F2: A third man thinkes, without expence at all,
/ Henry VI i.i.76
Fi: Here, through this Grate, I count each one,
F2: Here, through this Grate, I can count every one,
I Henry VI i.iv.6o
INTELLIGIBLE: METER 199
Fi: Great Marfhall to Henry the fixt,
F2: Great Marfhall to our King Henry the fixt,
I Henry VI iv.vii.70
Fi: Haft not a Tongue? Is fhe not heere?
F2: Haft not a Tongue? Is Ihe not heere thy prifoner?
I Henry VI v.iii.68
Fi: Yes my Lord, her Father is a King,
F2: Yes my good Lord, her Father is a King,
I Henry VI v. v. 39
Fi: Befide, his wealth doth warrant a liberal dower,
F2: Befide, his wealth doth warrant liberall dower,
1 Henry VI v. v. 46
Fi : With enuious Lookes laughing at thy fhame,
F2: With envious Lookes ftill laughing at thy fhame,
2 Henry VI ii.iv.12
Fi: Well Snffolke, thou fhalt not fee me blufh,
F2: Well Suffolke, yet thou Ihalt not fee me blufh,
2 Henry VI in.i.98
Fi: But the fafer, when 'tis back'd with France.
F2: Yes, but the fafer, when 'tis back'd with France.
J Henry VI iv.i.41
Fi: To wit, an indigefted and deformed lumpe,
F2: To wit, an indigefted deformed lumpe,
5 Henry VI v.vi.51
Fi: And therefore, in mine opinion, cannot haue it.
F2: Therefore, in mine opinion, cannot have it.
Richard III iii.i.52
Fi: This Minion ftood vpon her chaftity,...
And with that painted hope, braues your Mightineffe,
And fhall fhe carry this vnto her graue?
F2: And with that painted hope fhe braves your Mightineffe,
Titus 11.iii.126
Fi: You muft needs dine with me: go not you hence
Till I haue thankt you: when dinners done
Shew me this peece, I am ioyfull of your fights.
F2: Till I have thankt you: and when dinners done
Timon i.i.247
Fi: Our beft Friends made, our meanes ftretcht,
F2: Our beft Friends made and our beft meanes ftretcht out,
Caesar iv.i.44
200 CHANGES IN THE SECOND FOLIO
Fi: And for I know thou'rt full of Loue, and Honeftie,
F2: For I know thou'rt full of Love, and honefly,
Othello 111.iii.122
Fi: And he hath fent for thee: for the Queene,
F2: And he hath fent for thee: as for the Queene,
Antony v.ii.66
Fi: Orecome you with her lliew; and in time
F2: Orecome you with her fhew: yes and in time
Cyniheline v. v. 54
IV. Grammar
A. Supposed inconsistencies are corrected.
1. Tense and/or mood of verbs.
Fi: You miflooke Sir: I fay fhe did nod;
And you aske me if fhe did nod, and I lay I.
F2: You miftooke fir; I faid fhe did nod:
And you aske me if fhe did nod, and I faid I.
Gentletnen i.i. 109-10
Fi: if I be not lacke Faljlaffe, then am I a lacke:
F2: if I am not lacke Falstaffe, then am I a lacke:
I Henry IV v.iv. 138
Fi: He fight, till from my bones, my flefh be hackt.
F2: He fight, till from my bones, my flefh is hackt.
Macbeth v.iii.32
Fi: Hamlet comes backe: what would you vndertake,
To fhow your felfe your Fathers fonne indeed,
F2: Hamlet come backe, what would you undertake,
Hamlet 1v.vii.124
2. Number of verbs.
[We do not reprint seven examples (£rror5 v.i.74, Shrew iv.i. loi, All's Well 1v.ii.21,
Winter's Tale n.iii.126, 2 Henry VI ni.ii.ii, iv.viii.6i, Cymbeline 1v.ii.372) listed by
Professor Smith {Englische Studien xxx. 8-17, 1902).]
Fi: You haue done our pleafures
Much grace (faire Ladies)
Set a faire fafhion on our entertainment,
F2: Sets a faire fafhion on our entertainment,
Timon i.ii.141
INTELLIGIBLE: GRAMMAR: A 201
3. Person.
[We do not reprint two examples (j Henry VI 111.iii.253, Antojiy v.ii.207) listed
by Professor Smith {ut supra, pp. 19-20).]
Fi: Soft I who are you?
F2: Soft I who art thou?
/ Henry IV v.iii.32
4. Number of nouns and pronouns.
[Professor Smith {ut supra, pp. 7, 13) quotes two more examples {Merchant i.'in.ib^,
Antony n.ii.213).]
Fi: Duk[e to Valentine]. Know ye Don Antonio...}
F2: Duke. Know you D071 Antonio...}
Gentlemen 11.iv.50
[Apparently the reviser understood ye as plural and you as singular.]
Fi: Clo[wn\. ...if this law hold in Vienna \ ten yeare,
F2: Clo. ...if this law hold in Vienna ten | yeares,
Measure ii.i.229
[See also All's Well i.i.138, Hamlet v.i.163.]
Fi: No, not all thefe, thrice-gorgeous Ceremonie;...
Can Heepe fo foundly, as the wretched Slaue:
F2: No, not all thefe, thrice-gorgeous Ceremonies,
Henry V iv.i.262
Fi: King. We charge you, on allegeance to our felfe,
F2: Ki7ig. We charge you, on allegeance to our felves,
1 Henry VI iii.i.86
Fi: All [to Stafford]. I marry will we: therefore get ye gone.
F2: All [to Stafford]. I marry will we, therefore get you
gone,
2 Henry VI 1v.ii.146
Fi: To beare this tydings to the bloody King.
F2: To beare thefe tydings to the bloudy King. (Qq)
' Richard III 1v.iii.22
Fi: ]VIore light you knaues,
F2: More light ye knaves,
Romeo i.v.25
Fi: Hence, packe, there's Gold, you came for Gold ye flaues:
F2: Hence, packe, there's Gold, ye came for Gold ye flaves:
Timon v.i.iio
202 CHANGES IN THE SECOND FOLIO
Fi : Which giues men ftomacke to difgefl his words
With better Appetite.
F2: With better Appetites
Caesar i.ii.301
Fi : any deere Friend of Cxjars, to him | I fay, that Brutus
loue to Csefar,
F2: any deere Friend of Caefars, to them | I fay,...
Caesar iii.ii.i8
Fi: Cxf. Why haue you flohi vpon vs thus?
F2: CxJ. Why haft thou ftolne upon me thus?
Antony 111.vi.42
5. Case.
[We do not reprint five examples {Tempest i.ii.80, Antony n1.vi.33, Cymheline
i.vi. 153, n.iii.148, 1v.ii.77) listed by Professor Smith {ut supra, p. 6).)
Fi: Who wouldft thou flrike.?
F2: Whom wouldil thou (Irike.?
Gentlemen iii.i.200
Fi: Who, Siluia?
F2: Whom, Silvia?
Fi: Hard by, at ftreet end;
F2: Hard by, at ftreets end:
Fi : With who?
F2: With whom?
Gentlemen 1v.ii.23
Merry Wives 1v.ii.33
Much Ado i.i.183
Fi: Who haue you offended...?
F2: Whom have you offended...?
Much Ado v.i.215
Fi: I prethee, who doth he trot withal.?
F2: I prethee, whom doth he trot withall?
As You Like It 111.ii.294
Fi: Who doth he gallop withal?
F2: Whom doth he gallop withall?
As You Like It 111.ii.306
Fi: Who ff-aies it ftil withal?
F2: Whom ftaies it ftill withall?
As You Like It 111.ii.309
Fi: Who you faw fitting by me on the Turph,
INTELLIGIBLE: GRAMMAR: A 203
F2: Whom you faw fitting by me on the Turffe,
As You Like It 111.iv.44
Fi : With them a Baftard of the Kings deceafl,
F2: With them a Baftard of the King deceafl,
John ii.i.65
Fi: Who ioyn'ft thou with, but with a Lordly Nation,
F2: Whom joyn'ft thou with, but with a Lordly Nation,
1 Henry T'^/ Ii1.iii.62
Fi: Who fmce I heard to be difcomfited.
F2: Whom fmce I heard to be difcomfited.
2 Henry VI v.i.63
Fr. All Clinquant all in Gold, like Heathen Gods
F2: All Clinquant all in Gold, like Heathens Gods
Henry VIII i.i.19
Fi: That fhall demonflrate thefe quicke blowes of Fortunes,
F2: That fhall demonftrate thefe quicke blowes of Fortune,
Tim on i.i.94
Fr. Betweene who?
F2: Betweene whom?
Hamlet 11.ii.193
Fi : With who?
F2: With whom?
Othello iv.ii.ioo
Fi : The heyre of Cymheline and Britaine, who
The King his Father call'd Giiiderius .
F2: The heyre of Cymheline and Britaine, whom
Cymheline 111.iii.87
6. Inflected forms of adjectives and adverbs.
Fi: In Rufsia habit:
F2: In Ruffian habit:
Labour s v.ii.368
Fi : f weare horrible ;
F2 : f weare horribly :
Twelfth Night 111.iv.169
Fi: In Leads, or Oyles? What old, or newer Torture
F2: In Leads, or Oyles? What old, or new torture
Winter's Tale 111.ii.174
Fi: Kath. ...This to my Lord the King.
Cap. Moft willing Madam.
204 CHANGES IN THE SECOND FOLIO
F2: Cap. Moft willingly Madam.
Henry VIII iv.ii.130
Fi: And not a man for being fimply man,
Hath any honour;
F2: And not a man for being fimple man,
Troilus iii.iii.8o
Fi: He giue my Reafons,
More worthier then their Voyces.
F2: More worthie then their Voyces.
Coriolaniis iii.i.120
Fi : He beares himfelfe more proudlier,
Euen to my perfon, then I thought he would
F2: He beares himfelfe more proudly,
Coriolaniis iv.vii.8
Fi: Come you more neerer
F2: Come you more neere
Hamlet ii.i.ii
Fi : Your wifedome fhould fhew it felfe more ri- ] cher,
F2: Your wifedome fhould fhew it felfe more rich
Hamlet 111.ii.297
Fr. a more fafer | voice
F2: a more fafe | voyce
Othello i.iii.225
Fi : report
That I am fodaine ficke. Quicke, and returne.
F2: That I am fodaine ficke. Quickly, and returne.
Ajitony i.iii.5
Fi: 'Tis Noble fpoken. —
F2: Tis Nobly fpoken.
Anto7iy 11.ii.102
B. Words considered necessary to completeness of sentence struc-
ture are inserted.
Fi: wilt thou tell a monftrous lie,
F2: wilt thou tell me a monftrous lie,
Tempest 111.ii.27
Fx: And y letter hath fhe deliuer'd, & there an end.
F2: And y Letter hath fhe deliver'd, and there's an end.
Gentlemen ii.i.149
Fi : for then fhee neede not be I wafh'd, and fcowr'd.
INTELLIGIBLE: GRAMMAR: B 205
F2: for then fhe neede not to be | wash'd and fcowr'd.
Gentlemen iii.i.304
Fi: let him be fent for to mor-|row eight a clocke
F2: let him be fent for to mor-|row by eight a clocke
Merry Wives iii.iii. 174-5
Fi: I pray you home to dinner with me.
F2: I pray you goe home to dinner with me.
Measure 11. i. 264
Fi: Many and harty thankings to you both:
F2: Many and hearty thankings be to you both:
Measure v.i.4
Fi : It would make a man mad as a Bucke to be fo bought and
fold.
F2: It would make a man as mad as a Bucke...
Errors iii.i.72
Fi: Vnto his Lordfhip, whofe vnwifhed yoake,
My foule confents not to giue foueraignty.
F2: Vnto his Lordfhip, to whofe unwifhed yoake,
Dreartt i.i.81
Fi : All readie : and therefore I pray thee newes.
F2: All ready: and therefore I pray thee what newes.
Shrew iv.i.45
Fi : I pray now call her :
F2: I pray you now call her:
Winter's Tile 11.ii.15
Fi : To me comes a creature,
Sometimes her head on one fide, fome another,
F2: Sometimes her head is on one fide, fome another.
Winter's Tale 111.iii.20
Fi : I muft go buy Spices for our | fheepe-fhearing.
F2: I muft goe to buy Spices for our | fheepe-fhearing.
Winter's Tale iv.'m.i 11
Fi: Not. ..for all the Sun fees,...
will I breake my oath
F2: ...for all that the Sun fees,...
Winter's Tale 1v.iv.481
Fi: Now we beare the King
Toward Callice: Graunt him there; there feene,
Heaue him away
206 CHANGES IN THE SECOND FOLIO
F2: Toward Callice: grant him there; And there being feene,
Henry V v. Prol. 7
Fi: This is it that makes me bridle paffion,
F2: This is it that makes me bridle my paffion,
J Henry VI 1v.iv.19
Fi: Now here a period of tumultuous Broyles.
F2: Now here's a period of tumultuous Broyles.
J Henry VI v.v.i
Fi: If fhe denie, Lord Hastijigs goe with him,
F2: If fhe deny, Lord Haflings you goe with him,
Richard III iii.i.35
Fi: Cry mercy Lords, and watchfull Gentlemen,
F2: Cry you mercy Lords, and watchfull Gentlemen
Richard III v.iii.224
Fi : The Queene,^ the Courtiers. Who is that they follow,
F2: The Queene, the Courtiers. Who is't that they follow,
Hamlet v.i.212
Fi: I will a round vn-varnifh'd u Tale deliuer.
Of my whole courfe of Loue.
What Drugges, what Charmes,...
I won his Daughter.
F2: I won his Daughter with.
Othello i.iii.94
Fi: But neere him, thy Angell
Becomes a feare: as being o're-powr'd, therefore
Make fpace enough betweene you.
F2: Becomes a feare: as being o're-powr'd, and therefore
Antony 11.iii.23
Fi: Can he be there in perfon? 'Tis impoffible
Strange, that his power fhould be.
F2: Strange, that his power fhould be fo,
Antony iii.vii.57
Fr. The Gods rebuke me, but it is Tydings
To wafh the eyes of Kings.
F2: The gods rebuke me, but it is a Tydings
Antony v.i.27
C. Dependent sentence elements are transformed into independent
clauses and vice versa.
Fi : And he great care of goods at randone left,
F2: And he great ftore of gOods at randone leaving,
Errors i.i.43
INTELLIGIBLE: GRAMMAR: C 207
Fi: Why, Harry, doe I tell thee of my Foes,
Which art my neer'ft and deareft Enemie?
Thou, that art like enough, through vaffall Feare,...
To fight againft me vnder Percies pay,...
To fhew how much thou art degenerate.
F2: Thou art like enough, through vaffall Feare,
I Henry IV iii.ii.124
Fi: Of my kind Vnckle, that I know will giue.
And being but a Toy, which is no griefe to giue.
F2: And being a Toy, it is no griefe to give.
Richard III iii.i.114
V. Style
A. The current is substituted for an obsolescent, archaic, or in-
elegant word or form.
a to he {Romeo i.iv.80)
affection to [ajffectation {Labour's v.i.4)
Arrbgancie to Arrogance {Henry VIII ii.iv.iio)
batler to batlet {As You Like It 11.iv.46)
broke [participle] to broken {Troilus iii.i.48)
cafe(s to caufe(s {Henry V 11.iv.43, Romeo 111.iii.84, Othello iv.
i.69)*
counte, countie to count {Much Ado 11. i. 320, Romeo iii.v.218,
IV. i. I s.d., iv.i.49, 1v.ii.23)
crifpe-head to crifped-head {i Henry IV i.iii.io6)
demife [verb] to devife {Richard III iv.iv.247)
differency to difference {Coriolanus v.iv.ii)
difgefted to digefted {Antony ii.ii.i8o)
egall(y to equall(y {Richard III 111.v1i.213, Titus iv.iv.4)
enow to enough {Macbeth il.iii.6)
expiate [participial adjective] to expir'd {Richard III 111.iii.23)
Gimmors to Gimmalls (/ Henry VI i.ii.41)
happilie, happily to haply {Shrew 1v.iv.54, 2 Henry VI iii.i.3o6)t
Ignomie to Ignominy {Measure ii.iv.iii)
in funder to afunder {Errors v.i.249)
it [possessive] to its {Lear i.iv.215)
leaft to left {Cymbeline i.i.93, 111.iv.185)
like to to like (z Henry VI i.v.26, 2 Henry VI v.i.ioo, Henry
VIII ii.iv.i59)|
* These changes are perplexing, for cause in this sense became obsolete in the
seventeenth century. Perhaps the true explanation is typographical error.
t On the other hand, at AlV s Well n1.ii.75, haply is changed to happily.
X But at Tempest i.ii.301 like is changed to like to, probably for metrical reasons.
At I Henry VI i.v.26 and Henry VIII 11.iv.1s9 the is added to avoid impairing the
rhythm.
208 CHANGES IN THE SECOND FOLIO
loaden [participial adjective] to loaded (Henry VIII iv.ii.2)
mean to means {Errors i.ii.18)
meere to clean {Labour's i.ii.33)
mo(e to more {Much Ado 11.iii.65, -^^ ^^" Like It 111.ii.246,
Winter's Tale v.ii.122, Richard III 1v.iv.504, Tinion 11. i. 7, 11.ii.113,
Cymbeline iii.i.36, 62)
much vnkindly to very unkindly {Othello i.i.i)
nuptiall [noun] to nuptialls {Tempest v.i.308, Dream i.i.125)
owe to owne {Coriolaniis ill. ii. 130)
parle to parly {Titus v.iii.19)
ruthfull to ruefull {Troilus v.iii.48)
flipper [adjective] to flippery {Othello 11. i. 238)
fometime [adverb] to fometimes {Tejnpest 111.ii.133, Lear 11.iii.19)
flroken /o flricken {Caesar iii.i.210)
thorough [preposition] to through {Merry Wives iv.v.28)*
vnfeminar'd to unfeminaried {Antony i.v.ii)
B. Synonyms, equivalent idioms, and alternate forms of the same
word are substituted.
Fi : He doe yoe your | Mafler what good I can:
F2: He doe for your | Mailer what good I can:
Merry Wives i.iv.84
[An indirect object is also eliminated at Hamlet 1n.iv.19, Cymbeline ni.v.32. See
p. 47-1
Fi: He that commends me to mine owne content,
F2: He that commends me to my owne content,
Errors i.ii. 33
[My is also substituted for mine before a singular noun at Errors m.i.119, All's
Well n.i.125, 2 Henry VI 1v.ii.79, Troilus iv.ii.2, Hamlet ii.i.92, v.ii.298, Antony
iv.viii.i8, and before Nailes at Antony v.ii.222, perhaps to avoid the juxtaposition
of two n sounds. Mine is substituted for my before a plural noun at Merchant v.i.244,
As You Like It ni.v.44, and before inheritance at Richard II n.iii.136, perhaps be-
cause of the s sound at the end of the word. See p. 47.]
Fi: Nor to her bed no homage doe I owe:
F2: Nor to her bed a homage doe I owe:
Errors 111.ii.43
[Other double negatives are eliminated at Much Ado ii.i.iio, .45 You Like It
n.iv.8, I Henry /Fm.i. 133-4. See p. 47.]
Fi: A heauie heart beares not a humble tongue.
F2: A heavy heart beares not an humble tongue.
Labour's v.ii.725
* But thoroughly is changed to throughly at Shrew i.i.138, possibly by inadvertence.
INTELLIGIBLE: STYLE: B 209
Fi : Caualery | Cobweb
F2: Cavalero | Cobweb
Dream iv.i.21
Fi : So make the choice of thy owne time,
F2: So make the choice of thine owne time,
All's Well II. i. 202
[Thy is again changed to thine before a word beginning with a vowel at Richard II
v.iii.6s.]
Fi : My husband Hues that Tibalt would haue flaine,
And Tibalt dead that would haue flaine my husband :
F2: And Tybalt dead that would have kil'd my husband:
Romeo iii.ii.io6
[To avoid repetition?]
Fi : Timon hath made his euerlafling Manfion
Vpon the Beached Verge of the fait Flood,
Who once a day with his emboffed Froth
The turbulent Surge fhall couer;
F2: Which once a day with his emboffed Froth
Timon v.i.215
Fi : (as I it is like mofl if their meanes are no better)
F2: (as I it is like moft if their meanes are not better)
Hamlet 11.ii.345
Fi : Euery day thou dafts me with fome deuife
F2 : Every day thon dofts me with fome device
Othello 1v.ii.176
Fi: They meete other Soldiers.
F2: They meet with other Soiddiers.
Antony iv.iii.6 s.d.
C. Attempts are made to reduce broken English, malapropisms,
and quibbles to sense.
Fi: Slen. I may quarter (Coz).
Shal. You may, by marrying.
Eiians. It is marring indeed, if he quarter it.
F2: Evans. It is marrying indeed, if he quarter it.
Merry Wives i.i.23
Fi: Euan. It is not meet the Councell heare a Riot:
' F2: Evan. It is not meet the Councell heare of a Ryot:
Merry Wives i.i.32
Fi: £wow5. ...goot difcretions
F2: £z;an5. ...good difcretions
Merry Wives i.i.40
210 CHANGES IN THE SECOND FOLIO
Fi: Euan. ...I haue a great difpofitions to cry,
F2: Eva?i. ...I have a great difpofition to cry.
Merry Wives iii.i.20
Fi: Euan. ...you would defires to be acquaiuted withall.
F2: Evan. ...you would defire to be acquainted withall.
Merry Wives ill. i. 6 2
Fi: Eu[ans]. You fay he has bin throwne in the Riuers:
F2: Evan. You fay he hath been throwne into the River:
Merry Wives 1v.iv.20
Fi : Eiians. ...do as I pid you:
F2: Evans. ...doe as I bid you:
Merry Wives v.iv.3
Fi: I ha | married oon Garfoon, a boy;
F2: I ha I married one Garfoon, a Boe;
Merry Wives v.v.194
Fi: we had but two in the houfe, which at that very diftant |
time flood, as it were in a fruit dish
F2: ...at that very inftant | time...
Measure ii.i.88
Fi: In her forhead, arm'd and reuerted, making | warre
againft her heire.
F2: ...making | warre againft her haire.
Errors 11i.ii.123
Fi: Dog. ...anie man that | knowes the Statues,
F2: Dog. ...any man that | knowes the Statutes,
Much Ado 111.iii.73
Fi: Dog. ...be vigitant I befeech you.
F2: Dog. ...be vigilant I befeech you.
Much Ado 111.iii.87
Fr- Clo[wn]. Garden, O fweete garden, better then remu-
ne-| ration,
F2: Clo. Guerdon, O fweet guerdon, better then remu-
ne- 1 ration,
Labour's iii.i.i6o, 162
Fi: I fee a voyce; now will I to the chinke,
To fpy and I can heare my Thisbies face.
F2: I heare a voyce; now will I to the chinke,
To fpy and I can fee my Thisbies face.
Dream v.i.190-1
Fi: the Mynes | is not according to the difciplines of the
W^arre ;
INTELLIGIBLE: STYLE: C 211
F2: the Mynes | are not...
Henry V 111.ii.55
Fi: Flu. ...that fhall find himfelfe j agreefd at this Gloue;
F2: Flu. ...that fhall find himfelfe | agreev'd at this Glove,
Henry V 1v.vii.157
Fi : She will endite him to some Supper.
F2: She will envite him to some Supper.
Romeo 11.iv.125
Fit Miftris, what Miftris? hdiet? Fafl I warrant her fhe.
F2: Miftris, what Miftris? luliet? Faft I warrant her.
Romeo iv.v.i
Fi : Pardon me lulius, heere was't thou bay'd braue Hart,
F2: Pardon me lulius, heere was't thou bay'd brave Heart,
Caesar iii.i.205
Fi: Clow[n]. ...this is moft falliable, the Worme's an odde
Worme.
F2: Clo[wn]. ...this is moft fallible,...
Antony v.ii.256
D. The verb is put before its subject in clauses assumed to be
interrogative.
[See p. 47-]
Fi : But fay Lucetta (now we are alone)
Would'll thou then counfaile me to fall in loue?
F2: But fay Lucetta (now are we alone)
Gentlemer i.ii.i
Fi: Why you are nothing then: neither Maid, Wi-|dow, nor
Wife?
F2: Why are you nothing then: neither Maid, Wi-|dow, nor
Wife?
Measure v.i.177
Fi: What pleafure Sir, we finde in life, to locke it
From Action, and Aduenture.
F2: What pleafure Sir, finde we in life, to locke it
From Action, and Adventure?
Cymbeline iv.iv.2-3
E. The spelling of proper names is altered to bring about greater
uniformity.
lule to lulet {Romeo i.iii.44, 58)
Valentinus to Valentino {Gentlemen i.iii.67)
212 CHANGES IN THE SECOND FOLIO
F. Immediately after a riming passage, two lines which modern
editors print as prose are made to rime.
Fi : But for all this thou fhalt haue as many Dolors for thy ]
Daughters, as thou canft tell in a yeare.
F2: But for all this y fhalt have as many Dolors for thy deare
Daughters, as thou canft tell in a yeare.
Lear 11.iv.53
G. Changes are made apparently with the idea of carrying out
parallelism of expression.
[See p. 49-]
Fi : A rotten carkaffe of a Butt, not rigg'd,
Nor tackle, fayle, nor mafl, the very rats
Inftinctiuely haue quit it:
F2: Nor tackle, nor fayle, nor maft; the very rats
Tempest i.ii.147
Fi: Item, fhee hath more haire then wit, and more 1 faults
then haires,
F2: Item, fhe hath more haires then wit,...
Gentleynen iii.i.344
der:
Fi : Here is...Iu- |flice Shallow, and heere yong Mafler Slender:
F2: Here is...Iu- |ftice Shalloiv, and here's yong Mafter Slen-
Merry Wives i.i.67
Fi: If he be not amaz'd he will be mock'd: If | he be amaz'd,
he will euery way be mock'd.
F2: ...If I he be amaz'd, he will be mock'd.
Merry Wives v.iii.19
Fi: S. Dro. For two [reasons], and found ones to.
An. Nay not found I pray you.
F2: An. Nay not found ones I pray you.
Errors ii.ii.91
Fi: I haue a doublet and hofe
F2: I have a doublet and a hofe
As You Like It 111.ii.182
Fi : Yet you will be hang'd for being fo long abfent, | or to
be turn'd away: is not that as good as a hanging to | you?
F2: Yet you will be hang'd for being fo long ab-|fent, or be...
Tivelfth Night i.v.16
Fi: I will fir, I will.
F2: I will fir, I will fir.
Twelfth Night 1v.ii.Q7
INTELLIGIBLE: STYLE: G 213
Fi: but is L. Timons:
Great Timon, Noble, Worthy, Royall Timon:
F2: Great Timon, Noble, Worthy, Royall Timons:
Timon Ii.ii.i68
Fi: Do you fee this? Looke on her? Looke her lips,
Looke there, looke there.
F2: Doe you fee this? Looke on her, looke on her lips,
Lear v.iii.310
H. Contractions are expanded.
[A large number of these could be the work of the printer, even the work of his
subconscious mind, especially those which impair the meter. See p. 49.]
Fi : All haile, great Mailer, graue Sir, haile: I come
To anfwer thy beft pleafure; be't to fly,
To fwim, to diue into the fire:
F2: To anfwer thy beft pleafure; be it to fly.
Tempest i.ii.190
[See also Antony ni.vi.2.]
Fi: Intended 'gainft Lord Angela, came I hether
F2: Intended againft Lord Angela, came I hither
Measure v.i.154
[See also Coriolanus i.ix.56, Antony n.ii.158.]
Fi: Say: was't thou ere contracted to this woman.?
F2: Say: was't thou ever contracted to this woman?
Measure v.i.373
Fi : I am glad he's come, howfoere he comos.
F2: I am glad he's come, howfoever he comes.
Shrew 111.ii.70
[See also 2 Henry VI n1.ii.406.]
Fi: what cernes it you, if I weare Pearle and gold:
F2: what concernes it yon, if I weare Pearle and gold:
Shrew y.i. 64.
Fi: One, that fhe's not in heauen,
F2: One that fhe is not in heaven.
All's Well ii.iv.io
[See also 2 Henry VI 1v.ii.102, Coriolanus i.i.262, Cymheline m.v. 105.]
Fi: I I prythee
F2 : I I pray thee
I Henry IV i.ii.15
[See also ibid, i.ii.143, Othello 111.iii.13s.]
214 CHANGES IN THE SECOND FOLIO
Fi: Haue but their flings, and teeth, newly tak'n out,
F2: Have but their Rings, and teeth, newly taken out,
2 Henry IV iv.v.206
Fi : This Cardinall's more haughtie then the Deuill.
F2: This Cardinall is more haughty then the Devill.
I Henry VI i.iii.84
[See also Coriolanus v.iii.158.]
Fi: To beare her burthen, where I will or no.
F2: To beare her burthen, whether, I will or no,
Richard III Iii.vii.229
Fi: I fpeake my good Lord Cardnall, to this point;
F2: I fpeake my good Lord Cardinall to this point;
Henry VIII ii.iv.i66
Fi: Bru. and Scic. AJlde.
F2: Brutus, and Sicinius. A fide.
Coriolanus ii.i.89
[See also Tilus v.iii.191, Timon ni.i.49, iv.ii.i.]
Fi : A plague a both the Houfes,
F2: A plague of both the houfes,
Romeo iii.i.88, 96
Fi: Luc. You fee my Lord, how ample y'are belou'd.
F2: Luc. You fee my Lord, how ample ye are belov'd.
Timon i.ii.125
[See also ibid. n.ii.6o, Antony n.v.103.]
Fi: Your fodaine comming ore to play with him;
F2: Your fodaine comming over to play with him;
Hamlet 1v.vii.105
Fi: defeate thy fauour, with an vfurp'd Beard.
F2: defeat thy favour, with an ufurped Beard.
Othello i.iii.339
[See also Antony 1v.ii.23, Cymbeline 1v.ii.345.]
Fi : And what thou think'ft his very action fpeakes
F2: And what thou thinkeft his very Action fpeakes
Antony ni.xii.35
Fi: Into th'Abifme of hell.
F2: Into the Abifme of Hell.
Antony 111.xiii.147
[See also Cymheline v.ii.ii.]
INTELLIGIBLE: STYLE: H 215
Fi: Heere's a few Flowres, but 'bout midnight more:
F2: Heere's a few Flowres, but about midnight more:
Cymbeline 1v.ii.284
MISTAKEN AND ARBITRARY CHANGES
I. Thought
A. Fancied inconsistencies of fact and circumstance are corrected.
Fi: Why, what did I? I did nothing:
He go farther off.
F2: He goe no further off.
Tempest in.ii.68
Fr- hauing but two in | the difh
F2: having no more in the difh
Measure ii.i.96
Fi : And fure (vnleffe you fend fome prefent helpe)
F2: And fure (unleffe you fend fome other prefent helpe)
Errors v.i.176
[Possibly it was intended to substitute other for present.]
Fi : I f eare it is too chollericke a meate.
F2: I feare it is too phlegmaticke a meate.
Shrew 1v.iii.19
Fi: O he's drunke fir Tohy an houre agone: his eyes | were
fet at eight i'th morning.
F2: O he's drunke fir above an houre agone:...
Tivelfth NioJit v.i.190
[We suspect that this is a mistaken correction: the reviser, supposing that more
than an hour must have passed since eight o'clock, intended 0 he' s drunke fir Toby
above an houre agone.]
Fi: By his perfwafion, are againe falne off,
F2: By his perfwafion, are at length falne off,
John v.v.ii
Fi : [Welsh] Capt. My Lord of Salisbury, we haue flayd ten
dayes.
And hardly kept our Countreymen together,
F2: And hardly kept your Countrey men together,
Richard II ii.iv.2
Fi: When I from France fet foot at Rauenfpurgh;
F2: When I from France fet forth at Ravenfpurgh;
/ Henry IV in.ii.95
[Ravenspurgh is in England.]
216 CHANGES IN THE SECOND FOLIO
Fi : the faying is true, The empty veffel makes the | greatefl
found,
F2: the fongis true,...
Henry V 1v.iv.67
Fi : Were there a Serpent feene, with forked Tongue,
That flyly glyded towards your Maieftie,
It were but neceffarie you were wak't:
Leaft being fuffer'd in that harmefull flumber.
The mortall Worme might make the fleepe eternall.
F2: Leail being fuffer'd in that harmeleffe flumber,
2 Henry VI ill. ii. 262
Fi: Hel. 'Twill make vs proud to be his feruant Paris:
F2: Hel. 'Twill make us proud to be your fervant Paris:
Troilus iii.i.148
Fi : as Weeds before
A Vefl'ell vnder fayle, fo men obey'd,
F2: as Waves before
Coriolanus 11.ii.103
Fi: Bru. Well, well, wee'l leaue you.
Sicin. Why flay we to be baited
With one that wants her Wits.
F2: Sicin. Why ftay you to be baited
Coriolanus 1v.ii.43
Fi: Go Pindarus, get higher on that hill,
F2: Goe Pindarus, get thither on that hill,
Caesar v.iii.20
Fi: Why in that rawneffe left you Wife, and Childe?
F2: Why in that rawneffe left you Wife, and Children?
Macbeth 1v.iii.26
[Macduff's "Babes" are mentioned at iv.ii.6.]
Fi: Edg. [to Lear, dead] Looke vp my Lord.
F2: Edg. Looke to my Lord.
Lear v.iii.312
Fi : What meane you (Sir)
To giue them this difcomfort? Looke they weepe,
F2: To give them this difcomfort? Looke, you weepe,
Antony 1v.ii.34
[Actually there is no antecedent for they: by it, Enobarbus means the attendants.]
MISTAKEN: THOUGHT: B 217
B. Alterations are made in passages where the reviser's unfamiliar-
ity with a word, or the sense in which it is used, has caused him to
fancy the text corrupt.
Fi : he loues the | Gally-mawfry
F2: he loves thy | Gally-mawfry
Merry Wives 11. i. 103
[By gallimaufry, Pistol means Falstaff's taste in women — "both high and low,
both rich and poor"; the editor, like Ford, thinks he means Mrs. Ford.]
Fi: The prenzie, Angela}
F2: The Princely, Angela'^
Measure iii.i.95
Fi: The damnefl bodie to inueft, and couer
In prenzie gardes;
F2: In Princely gardes;
Measure in. i. 97-8
Fi: Mar. ...Good fir fay, whe'r you'l anfwer me, or no:
If not, He leaue him to the Officer.
Ant. I anfwer you? What fhould I anfwer you.
Gold. The monie that you owe me for the Chaine.
F2: Ant. I anfwer you? Why iliould I anfwer you?
Errors iv.i.62
Fi: Thus ornament is but the gulled fhore
To a moft dangerous fea:
F2: Thus ornament is but the guilded fhore
Merchant 111.ii.97
Fi : Sit leffica, looke how the floore of heauen
Is thicke inlayed with pattens of bright gold,
F2: Is thicke inlayed with patterns of bright gold,
Merchant v.i.59
Fi : my fhips
Are fafelie come to Rode.
F2: Are fafely come to Rodes.
Merchant v.i.288
[Apparently the reviser took this as a mistake for Rhodes, which is the spelling
of F3.]
Fi: for fimply your ha-|uing in beard, is a yonger brothers
reuennew
F2: for fimply your ha-|ving no beard,...
As You Like It 111.ii.349
[See p. 40.]
218 CHANGES IN THE SECOND FOLIO
Fi : Hee hath bought a paire of caft Hps of Diana:
F2: Hee hath bought a paire of chaft Hps of Diana:
As You Like It 111.iv.14
Fi : I will buy me a fonne in Law in a faire, and toule | for
this. He none of him.
F2: I will buy me a fonne in Law in a feare, and toule | him
for this...
All's Well v.iii. 146-7
Fi: feare to kill a Woodcocke, left thou dif- 1 poffeffe the foule
of thy grandam.
F2: ...left thou dif- 1 poffeffe the houfe of thy Grandam.
Twelfth Night 1v.ii.58
Fi: O do not fweare,
Hold little faith, though thou haft too much feare.
F2: How little faith, though thou haft too much feare.
Twelfth Night v.i.165
Fi: Then he's a Rogue, and a paffy meafures panyn:
F2: Then he's a Rogue after a paffy meafures Pavin:
Twelfth Night v.i.192
[See p. 40.]
Fi: fhooke hands, as ouer a Vaft;
F2: fhooke hands, as over a Vaft | Sea,
Winter's Tale i.i.28
Fi: I haue three daughters: the eldeft is eleuen;
The fecond, and the third, nine: and fome fiue:
F2: The fecond, and the third, nine: and fonnes five.'
Winter's Tale 11. i. 145
Fi: Is as a meeting of the petty Gods,
F2: Is as a merry meeting of the petty gods,
Winter's Tale iv.iv.4
[Possibly an incomplete correction, the reviser, objecting for some reason to
petty, intending "Is as a merry meeting of the gods."]
Fi: not a Ribbon, | Glaffe, Pomander, ...to keepe | my Pack
from fafting:
F2: ...to keepe | my Packe from faftning:
Winter's Tale 1v.iv.592
Fi: Rich. And fay, what ftore of parting tears were fhed?
Aum. Faith none for me:
F2: Aum. Faith none by me:
Richard II i.iv.6
MISTAKEN: THOUGHT: B 219
Fi: Giue Sorrow leaue a while, to tuture me
To this fubmiffion.
F2: Give Sorrow leave a while, to returne me
Richard II iv.i.i66
Fi : Senet. [stage-direction]
F2: Sonet.
J Henry VI i.i.205
[A.\so 3.1 Richard III iv.ii.i, Henry VIII ii.iv.i, Troilus i.iii.i, Coriolanus u.\.isi,
11.ii.35. See p. 4I-]
Fi: Quee. ...I am old my Lords,
And all the Fellowlliip I hold now with him
Is onely my Obedience.
F2: Is onely by Obedience.
Henry VIII iii.i.122
Fi: That fhe was neuer yet, that euer knew
Loue got fo fweet, as when defire did fue:
F2: Love goe fo fweet, as when defire did fue:
Troilus i.ii.283
Fi : reafon and refpect.
Makes Liuers pale, and luftyhood deiect.
F2: Makes Lovers pale, and luftyhood deject.
Troilus ii.ii.50
Fi : and you draw | backward weele put you i'th fils:
F2: and you draw | backward weele put you i'th files:
Troilus Ii1.ii.44
Fi: He was a thing of Blood, whofe euery motion
Was tim'd with dying Cryes:
F2: Was trim'd with dying Cryes:
Coriolanus ii.ii.io8
Fi : Saint Colmes ynch,
F2: Saint Colmes-hill,
Macbeth i.ii.63
Fi: As the weyard Women promis'd,
F2: As the weyward Women promis'd,
Macbeth iii.i.2
Fi : (And betimes I will) to the weyard Sifters.
F2: (And betimes I will) to the wizard Sifters.
Macbeth 111.iv.133
[So also at iv.i.136. See p. 41.]
220 CHANGES IN THE SECOND FOLIO
Fi: iuft at this dead houre,
F2: juft at this fame houre,
Hamlet i.i.65
Fi : Lord Hamlet is a Prince out of thy Starre,
F2: Lord Hamlet is a Prince out of thy Sphere,
Hamlet 11.ii.140
[See p. 40.]
Fi: ouer foure | incht Bridges,
F2: over foure | archt Bridges,
Fi : She gaue ftrange Eliads,
F2 : She gave ftrange Iliads,
Lear 111.iv.55
Lear iv.v.25
Fi: Gloii. ...Now Fellow, fare thee well.
Edg. Gone Sir, farewell:
F2: Edg. Good Sir, farewell.
Lear 1v.vi.41
Fi: Melt Egypt into Nyle: and kindly creatures
Turne all to Serpents.
F2: Melt Egypt into Nyle; and kindled creatures
Antony il.v.78
Fi: I haue told him Lepidus was growne too cruell,...
And did deferue his change: for what I haue conquer'd,
I grant him part:
F2: And did deferve his chance for what I have conquer'd,
Anto7iy 111.vi.34
Fi: Mec. His taints and Honours, wag'd equal with him.
F2: Adec. His taints and honors, way equall with him.
Antony v. i. 30-1
Fi: For Notes of forrow, out of tune, are worfe
Then Priefts, and Phanes that lye.
F2: Then Priefts, and Vanes that lye.
Cymheline 1v.ii.243
Fi: A certaine ftuffe, which being tane, would ceafe
The prefent powre of life,
F2: A certaine ftuffe, which being tane, would feize
Cymheline v.v.255
[See p. 41.]
C. The text is changed apparently in accordance with a misinter-
pretation of an image, idea, or construction.
Fi: And being fo hard to me, that brought your minde;
MISTAKEN: THOUGHT: C 221
I feare fhe'll proue as hard to you in telling your minde.
F2: I feare fhee'I prove as hard to you in telling her minde.
Gentlemen i.i.131
Fi: Sil. [to Proteus]. ..and all thofe oathes,
Defcended into periury, to loue me,
F2: Defcended into perjury to deceive me,
Gentlemen v.iv.49
Fi: Ho now you ftrike like the blindman,
F2: Ho no! you ftrike like the blindman.
Much Ado ii.i.176
Fi: That fame Berowne ile torture ere I goe....
And make him proud to make me proud that iefts.
F2: And make him proud to make me proud with jefls.
Labour's v.ii.66
Fi : Looke how you but your felfe in thefe fharpe mockes.
F2: Looke how you but to your felfe in thefe fharpe 1 mockes.
Labour's v.ii.251
[Possibly an incomplete correction: the reviser may have intended "Look you but
to yourself." But probably the change started in the reviser's failure to recognize
but as butt.]
Fi: Sir, you haue well deferu'd,
If you doe keepe your promifes in loue;
But iuftly as you haue exceeded all promife,
Your Miflris fhall be happie.
F2: But juflly as you have exceeded all in promife,
As You Like It i.ii.223
Fi: She moues me not, or not remoues at leaft
Affections edge in me. Were fhe is as rough
As are the f welling Adriaticke feas.
F2: Affections edge in time. Were fhe as rough
Shrew i.ii.71
Fi : This Entertainment
May a free face put on: deriue a Libertie...
And well become the Agent: 't may; I graunt:
F2: And we'l become the Agent: 't may; I graunt:
Winter's Tale i.ii.114
Fi: Thou do'ft make poffible things not fo held,
F2: Thou do'ft make poffible things not be fo held;
Winter s Tale i.ii.139
[See p. 41.]
Fi: My Lord, my Anfwere is to Lancajler,
And I am come to feeke that Name in England,
222 CHANGES IN THE SECOND FOLIO
And I mull finde that Title in your Tongue,
Before I make reply to aught you fay.
F2: And I mull finde that Title in your Towne,
Richard II Ii.iii.72
Fi: I vnderftand thy Kiffes, and thou mine,
And that's a feeling difputation :
F2: And that's a feeble difputation:
1 Henry I V in. i. 205
Fi: Their cold intent, tenure, and fubftance thus.
Here doth hee wifh his Perfon, with fuch Powers
As might hold fortance with his Qualitie,
F2: How doth he wifh his Perfon, with fuch Powers
2 Henry IV iv.i.io
Fi: Old men forget; yet all fhall be forgot:
But hee'le remember, with aduantages.
What feats he did that day.
F2: Old men forget; yet all fhall not be forgot:
Henry V 1v.iii.49
Fi: I cannot tell, if to depart in filence.
Or bitterly to fpeake in your reproofe,
Beft fitteth my Degree, or your Condition.
If not to anfwer, you might haply thinke,
Tongue-ty'd Ambition, not replying, yeelded...
If to reproue you for this fuit of yours,...
Then on the other fide I check'd my friends.
F2: For not to anfwer, you might haply thinke,
Richard III 111.vii.144
Fi: Vpon my life, my Lord, He vndertake it,
F2: Vpon my felfe, my Lord, He undertake it,
Richard III v.iii.42
Fi: Things won are done, ioyes foule lyes in the dooing:
F2: Things won are done, the foules joy lyes in dooing:
Troilus i.ii.279
[See p. 41.]
Fi : CreJ. Not nothing monflrons neither?
Troy. Nothing but our vndertakings, when we vowe
to weepe feas. Hue in fire, eate rockes,
F2: Troy. Nothing but their undertakings, when we vow
Troilus 111.ii.74
Fi : ltd. Saints do not moue,
MISTAKEN: THOUGHT: C 223
Though grant for prayers fake.
Rom. Then moue not while my prayers effect I take :
F2: Pom. Then move not while my prayers effect doe take:
Romeo i,v.io4
[See p. 4I-]
Fi: lul. ...How odly thou repli'ft:
Your Loue faies like an honeft Gentleman :
Where is your Mother?
F2: Where is my Mother?
Romeo ii.v.61
[See p. 41.]
Fi: wee muft fpeake ] by the Carde, or equiuocation will
vndoe vs:
F2: ... or equivocation will follow us:
Hamlet v.i.134
Fi: the Age is growne fo picked, that the toe of the Pefant ]
comes fo neere the heeles of our Courtier, hee galls his | Kibe.
F2: the Age is growne fo picked, and the toe of the Pefant |
comes fo neare the heele of our Courtier,...
Hamlet v. i. 136-7
Fi: Your Skill shall like a Starre i'th' darkeft night,
F2: Your skill shall like a Starre i'th'brighteft night,
Hamlet v.ii.248
Fi: Old fond eyes,
Beweepe this caufe againe, He plucke ye out,
F2: Beweepe thee once againe. He plucke ye out,
Lear i.iv.302
Fi: Grates me, the fumme.
F2: Rate me, the fumme.
A^itony i.i.18
Fi: From Anthony winne Cleopatra, promife
And in our Name, what fhe requires, adde more
From thine inuention, offers.
F2: And in our Name, when fhe requires, adde more
Antony iii.xii,28
Fi: Cym. The time is troublefome:
Wee'l flip you for a feafon, but our iealoufie
Do's yet depend.
F2: Wee'l flip yon for a feafon, but with jeloufle
Cymbeline 1v.iii.22
224 CHANGES IN THE SECOND FOLIO
D. Attempts are made to clarify the meaning or syntax, frequently
by rendering it more literal.
Fi : Stigmaticall in making w orfe in minde.
F2: Stigmaticall in making, worfe the minde.
Errors 1v.ii.22
Fi: I that there is, our Court you know is hanted
With a refined trauailer of Spaine,
F2: With a conceited Travailer of Spaine,
Labour's i.i.i6i
Fi: And neuer going a right, being a Watch:
But being watcht, that it may ftill goe right.
F2 : And never going a right, being but a Watch :
Labour's iii.i.182
[Perhaps lured by the word-play.]
Fi: And for whofe death, we in the worlds wide mouth
Liue fcandaliz'd, and fouly fpoken of.
F2: Live fo fcandaliz'd, and fouly fpoken of.
I Henry IV i.iii.154
Fi : Go Captaine, from me greet the Danifh K^ing,
F2: Goe Captaine, from me to the Danifh King,
Hamlet iv.iv.i
Fi : I haue but an houre
Of Loue, of wordly matter, and direction
To fpend with thee.
F2: Of Love, of worldly matter, and direction
To fpeake with thee.
Othello i.iii.300
Fi : But firrah marke, we vfe
To fay, the dead are well : bring it to that.
The Gold I giue thee, will I melt and powr
Downe thy ill vttering throate.
F2: To fay, the dead are well: bring me to that.
Ajitony II. V. 33
IL Action
A. Indications of entrances, exits, and action on the stage are mis-
takenly added and expunged.
Exit is omitted at Timon i.ii.159, Othello i.i.145.
Exit is added at Lear 111.vi.74.
Entrances are marked at Errors v.i.117, 128, i''2.
Dyes is added after Kent's speech at Lear v.iii.322 (see p. 42).
MISTAKEN: ACTION: B 225
B. Stage-directions are arbitrarily emended.
Flourijh is frequently omitted passim.
Sound a Sen{n)et {A Senet, SENNET) is omitted at / Henry VI
v.i.i, 2 Henry VI i.iii.99, iii.i.i, Richard III iii.i.150 (see p. 41).
C. Speeches are mistakenly redistributed.
Leo. for Clau. {Much Ado iv.i.78).
Old. for Leo. {ih. v.iv.23).
Pedro for Ped{ant\ {Labour's 1v.ii.114).
After IV. vii. 33 i Henry VI F2 inserts Actus Quintus. Scsena Prima.
III. Meter: Verses are lengthened or shortened to improve
their rhythm.
Fi: Goe make thy felfe like a Nymph o'th'Sea,
F2: Goe make thy felfe like to a Nymph o'th'Sea,
Tempest i.ii.301
Fi: Curs'd be I that did fo: All the Charmes
F2: Curs'd be I that I did fo: All the Charmes
Tempest i.ii.339
Fi : Earths increafe, foyzon plentie,
F2: Earths increafe, and foyzofi plenty,
Tempest iv.i.iic
[See p. 45.1
Fi : I haue from their confines call'd to enact
F2: I have from all their confines call'd to enact
Tempest iv.i.121
[See p. 44-]
Fi: And alfo, I thinke, thou art not ignorant
F2: And alfo I doe thinke, thou art not ignorant
Gentlemen 111.ii.25
Fi : Sir Thurio, feare not you, I will fo pleade,
F2: Sir Thurio, feare not I will fo pleade,
Gentlemen 1v.ii.78
Fi: For fuch is a friend now: treacherous man,
F2: For fuch is a friend now: Thou treacherous man,
Gentlemen v.iv.63
Fi: They are reformed, ciuill, full of good,
F2: They are reform'd, civill, full of good.
Gentlemen v.iv.156
226 CHANGES IN THE SECOND FOLIO
Fi: Doth all the winter time, at ftill midnight
F2: Doth all the Winter time at flill of midnight
Merry Wives 1v.iv.29
Fi: Then the foft Mertill: But man, proud man,
F2: Then the foft Mertill; O But man! proud man!
Measure 11.ii.117
[See p. 45-]
Fi: That we were all, as fome would feeme to bee
From our faults, as faults from feeming free.
F2: Free from our faults, as faults from feeming free.
Measure 111.ii.36
Fi: Were teflimonies againft his worth, and credit
F2: Were teflimonies gainft his worth, and credit
Measure v.i.242
Fi : To quit the penalty, and to ranfome him :
F2: To quit the penalty, and ranfome him:
Errors i.i.23
Fi: And by the benefit of his wifhed light
F2: And by the benefit of his wifh'd light
Errors i.i.91
Fi: lie meet you at that place fome houre hence.
F2: He meet you at that place fome houre fir hence.
Errors iii.i.122
[See p. 4S-]
Fi: He make her come I warrant you prefently.
F2: He make her come I warrant prefently.
Adiich Ado iii.i.14
Fi: Not to be married.
Not to knit my foule to an approued wanton.
F2: Not knit my foule to an approved wanton.
Much Ado iv.i.43
Fi : In the ftate of honourable marriage,
F2: I'th ftate of honourable marriage.
Much Ado v.iv.30
Fi: To fhew his teeth as white as Whales bone.
F2: To fhew his teeth as white as Whale his bone.
Labour's v.ii.332
[See p. 45.]
Fi: This man hath my confent to marrie her. ...
This man hath bewitch'd the bofome of my childe:
MISTAKEN: METER 227
F2: This hath bewitch'd the bofome of my childe:
Dream 1.1.2 7
Fi: More rich, that onely to Hand high in your account,
F2: More rich, that to Hand high in your account,
Merchant iii.ii.155-6
Fi : Happy in this, fhe is not yet fo old
But (lie may learne: happier then this,
Shee is not bred fo dull but fhe can learne;
F2: But fhe may learne: happier then in this
Merchant 111.ii.162
Fi : As farre as Belmont.
lej. In fuch a night
F2: lej. And in fuch a night.
Merchant v.i.17
Fi: And nere a true one.
Loren. In fuch a night
F2: Loren. And in fuch a night
Merchant v.i.20
Fi : To that which had too mufl: then being there alone,
F2: To that which had too much: then being alone.
As You Like It ii.i.49
Fi: Sir, let me be fo bold as aske you,
F2: Sir, let me be fo bold as to aske you,
Shreiv i.ii.247
Fi: Oh monflrous arrogance:
F2: Oh mo ft monftrous arrogance:
Shrew iv.iii.io6
Fr- No worfe then I, vpon fome agreement
F2: No worfe then I fir upon fome agreement
Shrew 1v.iv.33
Fi : Me fhall you finde readie and willing
F2: Me fhall you find moft ready and moft willing
Shrew 1v.iv.34
Fi : Then at my lodging, and it like you,
F2: Then at my lodging, and it like you fir
Shrew 1v.iv.55
Fi : It blots thy beautie, as frofts doe bite the Meads,
F2: It blots thy beauty, as frofts bite the meads,
Shrew v.ii.139
228 CHANGES IN THE SECOND FOLIO
Fi: And is not like the fire: Honours thriue,
F2: And is not like the fire: Honours beft thriue,
AWs Well 11.iii.133
Fi: Of greateft luftice. Write, write Rynaldo,
F2: Of greateft luftice. Write, and write Rynaldo,
All's Well 111.iv.29
Fi: Her fweete perfections with one felfe king:
F2: Her fweete perfections with one felfe fame king:
Twelfth Night i.i.39
Fi: We muft be neat; not neat, but cleanly, Captaine:
F2: We muft be neat; not neat, cleanly Captaine:
Winter's Tale i.ii.123
Fi: Houres, Minutes? Noone, Mid-night.? and all Eyes
F2: Houres, Minutes? the Noone, Mid-night? and all Eyes
Winter's Tale i.ii.290
Fi: Burne hotter then my Faith.
Perd. O but Sir,
F2: Perd. O but deere fir,
Winter's Tale 1v.iv.35
Fi: As you haue euer bin my Fathers honour'd friend,
F2: As you have euer bin my Fathers friend.
Winter's Tale 1v.iv.485
[See p. 45-1
Fi : Nor fhall appeare in Sicilia.
Cam. My Lord,
F2: Nor fhall appeare in Sicily.
Winter's Tale 1v.iv.581
Fi : Shewing as in a Modell our firme Eftate?
F2: Shewing as in a Modell our firme ftate?
Richard II 111.iv.42
Fi : Their fruites of dutie. Superfluous branches
We lop away,
F2: Their fruites of dutie. All fuperfluous branches
Richard II iii.iv.63
Fi: How dares thy harfh rude tongue found this vnpleafmg
newes
F2: How dares thy harfh tongue found this unpleafmg newes?
Richard II 111.iv.74
[See p. 45-]
MISTAKEN: xMETER 229
Fi: My Thoughts, are minutes; and with Sighes they iarre,
Their watches on vnto mine eyes, the outward Watch,
F2: Their watches to mine eyes, the outward Watch,
Richard II v.v.52
Fi : Shew Minutes, Houres, and Times: but my Time
F2: Shew Minutes, Houres, and Times: O but my Time
Richard II v.v.58
Fr. Who neuer promifeth, but he meanes to pay.
F2: Who never promifeth, but meanes to pay.
1 Henry I V v.iv.43
Fi: And being now trimm'd in thine owne defires,
F2: And being now trimm'd up in thine owne defires,
2 Henry I V i.iii.94
Fit And Brother Clarence, and you Brother Gloucejler,
¥2'. And brother Clarence, and hvother Gloucester,
Henry V v.ii.84
Fi: Is Paris loft? is Roan yeelded vp?
F2: Is Paris loft? and is Roan yeelded up?
I Henry VI i.i.65
Fi: I doe remember it, and here take my leaue,
F2: I doe remember it, and here take leave,
/ Henry VI i.i.165
Fi: Peace Maior, thou know'ft little of my wrongs:
F2: Peace Mayor, for thou know'ft little of my wrongs:
I Henry VI i.iii.59
Fit Here's Glojler, a Foe to Citizens,
F2: Here's Gloster too, a Foe to Citizens,
I Henry VI i.iii.62
Fi: Refcu'd is Orleance from the Englifh.
F2: Refcu'd is Orleance from the Englifh wolves:
/ Henry VI i.vi.2
[See p. 44-]
Fi: Diuineft Creature, AJlrea's Daughter,
F2: Divineft Creature, bright AJlrsea's Daughter,
I Henry VI i.vi.4
Fi: Being but fourth of that Heroick Lyne.
F2: Being but the fourth of that Heroick Lyne.
I Henry VI 11. v. 78
230 CHANGES IN THE SECOND FOLIO
Fi: Orleance the Baftard, Charles, Burgundie,
F2: Orleance the Baftard, Charles, and Burgundie,
1 Henry VI 1v.iv.26
Fi: Marriage is a matter of more worth,
F2: But marriage is a matter of more worth,
/ Henry VI v.v.55
Fi: Whereas the contrarie bringeth bhffe,
F2: Whereas the contrary bringeth forth bhffe,
/ Henry VI v. v. 64
Fi: The Dukes of Orleance, Calaber, Britaigne, and Alanfon,
F2: The Dukes of Orleance, Calaber, Britaigne, Alanfon,
2 Henry VI i.i.y
Fi: Glofler, Yorke, Buckingham, Somerfet,
F2: Glofter, Yorke, Buckingham, and Somerfet,
2 Henry VI i.i.64
Fi : And whet not on thefe furious Peeres,
F2: And whet not on thefe too-too furious Peeres,
2 Henry VI n.i.34
[See p. 44-]
Fi: Who after Edward the third's death, raign'd as King,
F2: Who after Edward the third's death, raign'd King,
2 Henry VI 11.ii.20
Fi: Harmeleffe Richard was murthered traiteroufly.
F2: Harmeleffe King Richard was murthered traiteroufly:
2 Henry VI 11.ii.27
Fi: His well proportion'd Beard, made ruffe and rugged,
F2: His well proportion'd Beard, made ruffe and rugg'd,
2 Henry VI 111.ii.175
Fi: The Citizens flye and forfake their houfes:
F2: The Citizens flye him and forfake their houfes:
2 Henry VI iv.iv.50
Fi : To emblaze the Honor that thy Mafter got.
F2: To emblaze the Honor thy Mafler got.
2 Henry VI iv.x.69
Fi: Buckingham, I prethee pardon me,
F2: O Buckingham, I prethee pardon me,
2 Henry VI v.i.32
Fi : And fo to Armes victorious Father,
F2 : And fo to Armes victorious noble Father,
2 Henry VI v.i.211
MISTAKEN: METER 231
Fi : To ceafe. Was't thou ordain'd (deere Father)
F2: Tb ceafe. Was't thou ordained (O deere Father)
2 Henry VI v.ii.45
Fi: Patience is for Poultroones, fuch as he:
F2: Patience is for Poultroones, and fuch is he:
J Henry VI i.i.62
Fi : Proue it Henry, and thou fhalt be King.
F2: But prove it Henry, and thou fhalt be King.
3 Henry VI i.i.131
Fi: And neyther by Treafon nor Hoftilitie,
F2: Neither by Treafon not Hoftility,
J Henry VI i.i.199
Fi : Rather then haue made that fauage Duke thine Heire,
F2: Rather then made that favage Duke thine Heire,
J Henry VI i.i.224
Fi: That Face of his.
The hungry Caniballs would not haue toucht,
Would not haue ftayn'd with blood:
F2: Would not have ftayn'd the rofes juft with blood:
J Henry VI i.iv.153
[See p. 44-]
¥\\ If this right hand would buy two houres life,
F2: If this right hand would buy but two howres life,
J Henry VI ii.vi.8o
Fi : The Widow likes it not, for fhee lookes very fad.
F2: The Widow likes it not, for fhee lookes fad.
3 Henry VI iii.ii.iio
Fi : Goe too, wee pardon thee:
Therefore, in briefe, tell me their words,
As neere as thou canft gueffe them.
F2: Therefore, in briefe, tell their words,
J Henry VI iv.i. 89-90
Fi : Men for their Sonnes, Wiues for their Husbands,
F2: Men for their Sonnes, Wives for their Husbands fate,
3 Henry VI v.vi.41
Fi: Denounc'd againfl thee, are all falne vpon thee:
F2: Denounc'd againft thee, are falne upon thee:
Richard III i.iii.180
Fi : Heare you the newes abroad?
I. Yes, that the King is dead.
232 CHANGES IN THE SECOND FOLIO
Fj: I. Yes, the King is dead.
Richard III ii.iii.3
Fi: And being but a Toy, which is no griefe to giue.
F2: And being a Toy, it is no griefe to give.
Richard III in.i.114
Fi: A fort of Vagabonds, Rafcals, and Run-awayes,
F2: A fort of Vagabonds, Rafcals, Run-awayes,
Richard III v.iii.316
Fi : Shee's a ftranger now againe.
An. So much the more
F2: Shee's ftranger now againe.
Henry VIII ii.iii.17
Fi : He ha's flrangled his Language in his teares.
F2: He ha's ftrangled all his Language in his teares.
Henry VIII v.i. 156-7
Fi: But what the repining enemy commends.
That breath Fame blowes, that praife fole pure tranfceds.
F2 : What the repining enemy commends,
Troiliis i.iii.243
Fi: That one meets Hector; if none elfe, He be he.
F2: That one meets Hector, if none. He be he.
Troiliis i.iii.290
Fi: No maruel though you bite fo fharp at reafons.
You are fo empty of them, fhould not our Father
F2: You are empty of them, fhould not our father
Troilus 11.ii.34
Fi: Can it be.
That fo degenerate a ftraine as this.
Should once fet footing in your generous bofomes?
F2: Should once fet foot in your generous bofomes?
Troilus 11.ii.155
Fi : honour'd for thofe honours
That are without him; as place, riches, and fauour,
F2: That are without him; as place, riches, favour,
Troilus 111.iii.82
Fi: Neither gaue to me good word, nor looke:
F2: Neither gave to me good word, nor good looke;
Troilus III. iii. 143-4
Fi: If euer llie leaue Troylus: time, orce and death,
Do to this body what extremitie you can;
MISTAKEN: METER 233
F2: If ever fhe leave Troylus: time, and death,
Troilus iv.ii.ioo
Fi: The mortall Gate of th'Citie, which he painted
F2: The mortall Gate o'th'City, which he painted
Coriolaniis ii.ii.109
Fi : How more vnfortunate then all lining women
F2: How more unfortunate then living women
Coriolaniis v.iii.97
Fi: Better then he haue worne Fz//caw5 badge.
F2 : Better then he have yet worne Vulcans badge.
Titus ii.i.89
Fi : Euen for his fake am I pittileffe:
F2: Even for his fake am I now pittileffe:
Titus 11.iii.162
Fi : Speake Lauinia, what accurfed hand
F2: Speake my Lavinia, what accurfed hand
Titus III. i. 66
Fi: This after me, I haue writ my name,
F2: This after me, when I have writ my name,
Titus iv.i.71
Fi: Why fo braue Lords, when we ioyne in league
F2: Why fo brave Lords, when we all joyne in league
Titiis 1v.ii.136
Fi: Why doft not fpeake.? what deafe? Not a word?
F2: Why doft not fpeake? what deafe? no! Not a word?
Titus v.i.46
Fi : Teare for teare, and louing kiffe for kiffe,
F2: A teare for teare, and loving kiffe for kiffe.
Titles v.iii.156
Fi: For 'twas your heauen, fhe fhouldft be aduan'il,
F2: For 'twas your heaven, that fhe fhould be advanc't.
Romeo iv.v.72
Fi : Contempt and beggery hangs vpon thy backej
F2: Contempt and beggery hang on thy backe!
Romeo v.i.71
Fi : Your Honourable Letter he defires
To thofe haue fhut him vp, which failing.
Periods his comfort.
F2: To thofe have fhut him up, which failing to him,
Timon i.i.ioi
234 CHANGES IN THE SECOND FOLIO
Fi : You haue added worth vntoo't, and lufler,
F2: You have added worth untoo't, and lively lufler,
Timon i.ii.143
[See p. 44-]
Fi: As to aduance this lewell, accept it, and weare it,
F2: As to advance this lewell, accept, and weare it,
Timon i.ii.i66
Fi: Gently put out of Office, before I were forc'd out;
F2: Gently put out of Office, ere I were forc'd:
Timon i.ii. 198-9
[See p. 44.]
Fi: All to you. Lights, more Lights.
F2: All to you. Lights, more Lights, more Light.
Timon i.ii.230
Fi: Playes in the right hand, thus: but tell him,
F2: Playes in the right hand, thus: but tell him firrah
Timon ii.i.19
Fi: Your words haue tooke fuch paines, as if they labour'd
F2: Your words have tooke fuch paines, as they labourd
Timon lii.v.26
Fi: Powres into Captaines wounds.? Banifhment.
F2: Powres into Captaines wounds? ha Banifhment.
Timon iii.v.iii
Fi: Hugge their difeas'd Perfumes, and haue forgot
F2: Hugge their difeafed Perfumes, and have forgot
Timon 1v.iii.206
Fr. Seek not my name: A Plague confume you, wicked Caitifs
left:
Heere lye I Timon, who aliue, all lining men did hate,
Paffe by, and curfe thy fill, but paffe and flay not here thy
gate.
F2: Seek not my name: A Plague confume you, Catifs left:
Heere lye I Timon, who all living men did hate,
Paffe by, and curfe thy fill, but stay not here thy gate.
Timon v.iv.71-3
[See p. 46.]
Fi: And with the Brands fire the Traitors houfes.
F2: And with the Brands fire all the Traitors houfes.
Caesar 111.ii.2s6
Fi : Or did lyne the Rebell with hidden helpe,
MISTAKEN: METER 235
Fj: Or elfe did lyne the Rebell with hidden helpe,
Macbeth i.iii.112-3
Fi : And dafht the Braines out, had I fo fworne
Fj: And dafht the Branes out, had I but fo fworne
Macbeth i.vii.58
Fi : And (hut vp in meafureleffe content.
Fj: And fhut it up in meafureleffe content.
Macbeth ii.i.16-7
Fi : Where our Fate hid in an augure hole,
Fj: Where our Fate hid within an augure hole,
Macbeth ii.iii. 120-21
Fi : Gods benyfon go with you, and with thofe
F2: Gods benyfon go with you fir, and with thofe
Macbeth 11.iv.40
Fi : Be bright and louiall among your Guefls to Night.
Fj: Be bright and loviall 'mong your Guefts to Night.
Macbeth 111.ii.28
Fi: Let your remembrance apply to Banquo,
F2: Let your remembrance ftill apply to Banquo,
Macbeth 111.ii.30
Fi : Our Hofteffe keepes her State, but in befl time
We will require her welcome.
F2: Our Hofteffe keepes her State, but in the beft time
Macbeth iii.iv.5
Fi: And end his being. That done, he lets me goe,
F2: And end his being. That done, he lets goe,
Hamlet ii.i.96
Fi : To morrow is S. Valentines day, all in the morning betimes
F2 : To morrow is S. Valentines day, all in the morne betime.
Hamlet iv.v.46-7
Fi: 'Tis dangerous, when the bafer nature comes
F2: Tis dangerous when bafer nature comes
Hamlet v.ii.6o
Fi: Vpon our kingdome; if on the tenth day following,
F2: Vpon our Kingdome; if the tenth day following,
Lear i.i.176
Fi: When fhe was deare to vs, we did hold her fo,
F2: When fhe was deare to us, we held her fo,
Lear i.i.196
236 CHANGES IN THE SECOND FOLIO
Fi: The lowed, and mod delected thing of Fortune,
F2: The lowed, and mod deject thing of Fortune,
Lear iv.i.3
Fi: 'T would make her Amiable, and fubdue my Father
F2: 'T would make her Amiable, fubdue my Father
Othello 111.iv.59
Fi: Hearke the Drummes demurely wake the fleepers:
F2: Hearke how the Drummes demurely wake the fleepers:
Antony iv.ix. 29-30
Fi: And hoid thee vp to the fhouting Plebeians,
F2: And hoid thee up to th'fhouting Plebeians,
Antony iv.xii.34
IV. Grammar
A. Supposed inconsistencies are corrected.
I. Tense and/or mood of verbs.
Fi: father, as it pleafe me.
F2: father, as it pleafes me.
Much Ado ii.i.47
Fi: I know him Madame at a marriage fead,
F2: I knew him Madam at a marriage Fead,
Labour's ii.i.40
Fi: like him that leapt into the Cudard,
F2: like him that leapes into the Cudard,
AlVs Well 11.V.36
Fi: for whofe deere loue
(They fay) fhe hath abiur'd the fight
And company of men.
F2: (They fay) fhe had abjur'd the fight
Twelfth Night i.ii.40
Fi: Marry, would the word Farwell, haue lengthen'd houres,
And added yeeres to his fhort banifhment.
He fhould haue had a volume of Farwels,
F2: Marry, would the word Farewell, had lengthen'd houres,
Richard II i.iv.i6
Fi : Which I could with a ready gueffe declare,
Before the Frenchman fpeake a word of it.
F2: Before the Frenchman fpeakes a word of it.
Henry V i.i.97
MISTAKEN: GRAMMAR: A 237
Fi". Vnder my feet I ftampe thy Cardinalls Hat:
F2: Vnder my feet He ftampe thy Cardinalls Hat:
1 Henry VI i.iii.49
Fi : Though in this place moft Mafter weare no Breeches,
F2: Though in this place moft Maifter weares no Breeches,
2 Henry VI i.iii.144
Fi: Hold him in fafety, till the Prince come hither.
F2: Hold him in fafety, till the Prince comes hither,
Romeo v.iii.182
Fi: Take wealth, and Hues together,
Do Villaine do, fmce you proteft to doo't.
F2: Take wealth, and live together,
Timon 1v.iii.431
Fi : Doth not Brutus bootleffe kneele?
F2: Do not Briitiis bootleffe kneele?
Caesar iii.i.75
Fi: I will be hang'd, if fome eternall Villaine,...
Haue not deuis'd this Slander:
F2: Has not divis'd this Slander:
Othello 1v.ii.134
Fi: 'Twas a fhame no leffe
Then was his loffe, to courfe your flying Flagges,
F2: Tis a fhame no leffe
A^itony iii.xiii.io
2. Number of verbs.
Fr. Here follow her vices.
F2: Here foUowes her vices.
Gentlemen in. i. 3 13
[The verb is also changed to the singular after here at Dream v.i.214.]
Fi : I I will confter to them whence you come, who you are,
md I what you would are out of my welkin,
F2: ...and I what you would is out of my Welkin,
Twelfth Night 111.1.55
[See p. 46.]
Fi: This Entertainment
May a free face put on: deriue a Libertie
F2 : May a free face put on : derives a Libertie
Winter's Tale i.ii.112
238 CHANGES IN THE SECOND FOLIO
Fi : behold
The ilrong ribb'd Barke through liquid Mountaines cut,
F2: The ftrong ribb'd Barke through liquid mountains cut's
Troilus i.iii.40
Fi: To know our enemies mindes, we rip their hearts,
Their Papers is more lawful!.
F2: Their Papers are more lawfull.
Lear 1v.vi.263
[Seep. 4 7-]
Fi: PiJ. I fhall my Lord. Exit.
F2: PiJ. I fhall my Lotd. Exeunt,
3. Person.
Fi: how doft my Lord.?
F2: how does my Lord?
Cymheline iii.v.130
Lear ii.i.89
[Actually, my Lord is a vocative.]
Number of nouns and pronouns.
Fi : See you thefe husband?
F2: See you thefe husbands?
Merry Wives v.v.105
[Actually husband is a vocative.]
Fi : And for the fake of them thou forroweft for,
F2: And for the fakes of them thou forroweft for,
Errors i.i.122
Fi: So I, to finde a IVIother and a Brother,
In queft of them (vnhappie a) loofe my felfe.
F2: In queft of him (unhappie) loofe my felfe.
Errors i.ii.40
Fi: [IVIen] Indued with intellectuall fence and foules,
Of more preheminence then fish and fowles,
F2: Indued with intellectuall fence and foule,
Of more preheminence then fish and fowle.
Errors ii.i.22-3
Fi : Subfcribe to your deepe oathes, and keepe it to.
F2: Subfcribe to your deepe oathes, and keepe them to.
Labour's i.i.23
Fi: Where great additions fwell's,
F2: Where great addition fwell's,
AlVs Well 11.iii.125
[Actually swell' s = swell us.]
MISTAKEN: GRAMMAR: A 239
Fi : The Reuennew whereof fhall furnifh vs
For our affayres in hand : if that come fhort
F2: For our affayres in hand: if they come fhort
Richard II i.iv.46-7
Fi: The open eare of youth doth alwayes liflen,
Report of fafhions in proud Italy,
Whofe manners ftill our tardie apifh Nation
Limpes after in bafe imitation.
Where doth the world thrufl forth a vanity,
So it be new, there's no refpect how vile.
That is not quickly buz'd into his eares?
F2: That is not quickly buz'd into their eares?
Richard II ii.i.26
Fi: Our Hands are full of Bufmeffe: let's away,
Aduantage feedes him fat, while men delay.
F2: Advantage feedes them fat, while men delay.
I Henry IV iii.ii.i8o
Fr. Of with the Traitors head.
And reare it in the place your Fathers (tands.
F2: And reare it in the place your Fathers ftand,
J Henry VI ii.vi.86
Fi: If we did thinke
His Contemplation were aboue the earth,
F2: His Contemplations were above the earth,
Henry VIII Ii1.ii.131
Fr. In felleft manner execute your arme.
Fj: In fellefl manner execute your armes
Troilus v.vii.6
Fi : Hath he not pafs'd the Noble, and the Common?
F2: Hath he not pafs'd the Noble, and the Commons?
Coriolanus iii.i.29
Fi: Good honeft men: Thou draw 'ft a counterfet
F2: Good honefl man: Thou draw 'ft a counterfet
Timon v.i.78
Fi : And all-thing vnbecomming.
F2: And all-things unbecomming.
Macbeth iii.i.13
Fi: Oh Heauens, that fuch companions thou'd'fl vnfold,
And put in euery honefl hand a whip
To lafh the Ralcalls naked through the world,
F2: To lafh the Rafcall naked through the world,
Othello 1v.ii.144
240 CHANGES IN THE SECOND FOLIO
5. Case.
Fi: I cannot in- 1 dure this Lady tongue.
F2: I cannot in- 1 dure this Ladyes tongue.
Much Ado II. i. 245
Fi : That might your nature honour, and exception
Roughly awake,
F2: That migh your natures honour, and exception
Hamlet v.ii.223
Fi: Not Caefars Valour hath o'rethrowne Anthony,
But Anthonie's hath Triumpht on it felfe.
F2: But Anthonie, hath Triumpht on it felfe.
Antony 1v.xv.15
6. Gender.
Fi: Let him [Aaron] receiue no fuftenance, fetter him,
Till he be brought vnto the Emperous face,
For teftimony of her loule proceedings.
F2: For teftimony of his foule proceedings.
Titus v.iii.8
Fi: For the eye fees not it felfe but by reflection,
F2: For the eye fees not himfelfe but by reflection,
Caesar i.ii.52-3
Fi: The Ship is heere put in; A Verenneffa, Michael CaJJio...
Is come on Shore:
F2: The Ship is here put in: A Veroneffo, Michael CaJJio
Othello ii.i.25-6
[See p. 46.]
Fr. 0th. Why of thy thought, lagol
lago. I did not thinke he [Cassio] had bin acquainted
with hir [Desdemona].
F2: lago. I did not thinke he had bin acquainted with it.
Othello iii.iii.ioo
B. Words considered necessary to completeness of sentence struc-
ture are inserted.
Fr. Pray heauen it be not full of Knight againe.
F2: Pray heaven it be not full of the Knight againe.
Merry Wives 1v.ii.98
Fi: Euen fo voide is your falfe heart of truth.
F2: And even fo voide is your falfe heart of truth.
Alerchant v.i.189
man:
MISTAKEN: GRAMMAR: B 241
Fi: You touch'd my veine at firft, the thorny point
Of bare diftreffe, hath tane from me the fhew
Of fmooth ciuility:
F2: Of bare diftreffe, that hath tane from me the fhew
As You Like It 11.vii.95
Fi : See it fo grofely fhowne in thy behauiours,
F2: See it is fo groffely fhowne in thy behaviors,
All's Well i.iii.169
Fi: as fecret as maiden-head:
F2: as fecret as a maiden-heard:
Twelfth Night i.v.203
Fi: there | is nothing but Roguery to be found in Villanous
F2: ...to be found in a Villanous man;
1 Henry IV Ii.iv.ii8
Fi: Which dayly grew to Quarrell, and to Blood-fhed,
F2: Which dayly grew to a Quarrell, and to Blood-fhed,
2 Henry IV iv.v.195
Fi: Ye fhall haue a hempen Candle then, & the help | of
hatchet.
F2: ...& the help | of a hatchet.
2 Henry VI iv.vii.8i
Fi : Caft thoufand beames vpon me, like the Sun.?
F2: Caft a thoufand beames upon me, like the Sun?
Henry VIII iv.ii.89
Fr. Yes, Lyon ficke, ficke of proud heart;
F2: Yes, Lyon ficke, ficke of a proud heart:
Troilus 11.iii.82
Fi: For 0 hues Boiv,
Shootes Bucke afid Doe:
F2: Shootes both Bucke and Doe:
Troilus iii.i.iio
Fi: Come, come, lets fee him out at gates, come:
F2: Come, come, lets fee him out at the gates, come:
Coriolaniis 111.iii.144
Fi: Giue me pen and inke.
F2: Give me a pen and inke.
Titus 1v.iii.104
242 CHANGES IN THE SECOND FOLIO
Fi: They hither march amaine, vnder conduct
F2: They hither march amaine, under the conduct
Titus 1v.iv.65
Fi: And fent forth great Largeffe to your Offices.
F2: And fent forth a great Largeffe to your Offices.
Macbeth ii.i.14
Fi: Yet I perfwade my felfe, to fpeake the truth
Shall nothing wrong him.
F2: Yet I perfwade my felfe, to fpeake fo the truth
Othello 11.iii.215
V. Style
A. Verbal substitutions are made.
[See p. 49]
1. Possibly for the sake of euphony.
Fi: He fhew thee euery fertill ynch 'oth Ifland: and | I will
kiffe thy foote:
F2: He fhew thee every fertill ynch 'oth Ifle:...
Tempest 11.ii.138
Fi; Thefe cheekes are pale for watching for your good
F2: Thefe cheeks are pale with watching for your good.
2 Henry VI 1v.vii.79
[See p. 18.]
2. For the sake of uniformity.
Fi : Stand farther :
F2: Stand further:
Tempest 111.ii.82
[To conform to 11. 68, 80.]
Fi : But more, when Enuy breeds vnkinde deuifion,
There comes the ruine, there begins confufion.
F2: Then comes the ruine, there begins confufion.
I Henry VI iv.i.194
Fi: Brii. ...I had rather be a Dogge, and bay the Moone,
Then fuch a Roman.
Cajji. Brutus, baite not me,
F2: Bru. ...I had rather be a Dogge, and baite the Moone,
Caesar 1v.iii.27
MISTAKEN: STYLE: A 243
3. For the sake of emphasis.
Fi: Now for my Hfe the knaue doth court my loue,
F2: Now for my Hfe that knave doth court my love,
Shrew iii.i.47
Fi: His humble ambition, proud humility:
F2: His humbleft ambition, proud humility:
All's Well i.i.isg
Fi : I would we were well ridde of this | knauery.
F2 : I would wee were all ridde of this | knavery.
Twelfth Night 1v.ii.65
Fi: For no diflike i'th'world againft the perfon
Of the good Queene;
F2: Of our good Queene;
Henry VIII 11.iv.224
Fi: Yet is the kindeneffe but particular; 'twere bet- 1 ter flie
were kill in generall.
F2: Yet is your kindeneffe but particular;...
Troilus iv.v.20
Fi: I be got him on the Empreffe.
F2: I begot him on thy Empreffe.
Titus v.i.87
Fi: Bra. Oh Heauen: how got fhe out?
Oh treafon of the blood.
F2: Oh treafon of my blood.
Othello i.i.170
Fi: And bring them after in the beft aduantage.
F2: And bring them after in their beft advantage.
Othello i.iii.297
4. Apparently with the idea of improving the text by inserting
a more usual — perhaps, in the reviser's mind, a more exact — ex-
pression,
Fi: I, with a heart as willing
As bondage ere of freedome:
F2: I, with a heart fo willing
Tempest iii.i.88
Fi : To Millaine let me heare from thee by Letters
F2: At Millaine let me heare from thee by Letters
Gentlemen i.i.57
244 CHANGES IN THE SECOND FOLIO
Fi : Not being tryed, and tutord in the world;
F2: Not being tried, nor tutor'd in the world:
Gentlemen i.iii.21
Fi: And he great care of goods at randone left,
F2: And he great ftore of goods at randone leaving,
Errors i.i.43
Fi: In fpending your wit in the praife of mine.
F2: In fpending thus your wit in praife of mine.
Labour's ii.i.19
Fi: no lenuoy, no | lenuoy, no Salue fir, but a Plantan.
F2: no Lenvoy, no | Lenuoy, or Salve fir, but a Plantan.
Labour's iii.i.69
Fi: throw
Amef-ace for my life.
F2: A deauf-ace for my life.
All's Well ii.iii.76-7
Fi: That hugges his kickie wickie heare at home,
Fj: That hugges his kickfie wickfie here at home,
All's Well 11.iii.273
[Possibly the reviser knew the better known expression kicksey-winsey ( = whim)
and considered that this should conform to it.]
Fr. I will beflow fome precepts of this Virgin,
F2: I will beflow fome precepts on this virgin,
All's Well III. V. 97
Fi : are they not fome of them fet forward already?
F2: are there not fome of them fet forward already?
1 Henry IV 11.iii.25
Fi: But what meane I
To fpeake fo true at firll.?
F2: To fpeake of truth at firft?
2 Henry IV Ind. 28
Fi: Neuer came Reformation in a Flood,
With fuch a heady currance fcowring faults:
F2: With fuch a heady currant fcowring faults:
Henry V l.i.34
Fi: The Scale I keepe, and fo betide to me,
As well I tender you, and all of yours.
F2: The Scale I keepe, and fo betide it me,
Richard III 11.iv.71
MISTAKEN: STYLE: A 245
Fi: Be gladded in't by me.
F2: Be glad in't by me.
Henry VIII 11.iv.196
Fi: No, He nor fel, nor giue him: Lend you him I will
F2: No, He not fel, nor give him: Lend you him I wil
Coriolanus i.iv.6
Fi: A Mile before his Tent, fall downe, and knee
The way into his mercy:
F2: A mile before his Tent, fall downe and kneele
Coriolanus v.i.5
Fi: We are bleft that Rome is rid of him.
F2: We are glad that Rome is rid of him.
Caesar 111.ii.70
Fi: Thriftleffe Ambition, that will rauen vp
Thine owne Hues meanes:
F2: Thriftleffe Ambition, that will raven upon
Macbeth 11.iv.28
Fi: Hang thofe that talke of Feare.
F2: Hang thofe that Itand in feare.
Macbeth v.iii.36
Fi: Mufl miniller to himfelfe.
F2: Muft Minifter unto himfelfe,
Macbeth v.iii.46
Fi : make your owne purpofe,
How in my ftrength you pleafe: for you Edmund,
...you fhali be ours,
F2: How in my ftrength you pleafe: as for you Edmund,
Lear 11. i. 112
Fi: Which as a grife, or ftep may helpe thefe Louers.
F2: Which like a grife, or ftep may helpe thefe Lovers.
Othello i.iii.2oo
Fi: 'Tis not to make me lealious,
To fay my wife is faire, feeds well, loues company,
Is free of Speech, Sings, Playes, and Dances:
Where Vertue is, thefe are more vertuous.
F2: Where Vertue is, thefe are moft vertuous.
Othello 111.iii.190
Fj : That nor my Seruice paft, nor prefent Sorrowes,
F2: That not my Service paft, nor prefent Sorrowes,
Othello 111.iv.117
246 CHANGES IN THE SECOND FOLIO
Fi: Who's noyfe is this that cries on murther?
F2: Whofe noyfe is this that cryes out murther?
Othello v.i.48
Fi: What poore an Inllrument
May do a Noble deede:
F2: How poore an Inflrument
Antony v.ii.235
Fi: thou, Pojlhiimns
Wilt lay the Leauen on all proper men;
F2: Wilt lay the leven to all proper men;
Cymbeline iii.iv.6o
B. A word is omitted, possibly to avoid redundancy.
Fi : I am fure you both of you remember me.
F2: I am fure both of you remember me.
Errors v.i.291
C. Words and phrases from foreign languages or pseudo-lan-
guages are wrongly or arbitrarily corrected.
mai foy to moi foi {Merry Wives i.iv.45)
tu bien parlas | le Language to tu parlois bien | le Language
{Henry V iii.iv.i)
fo le I Foot & le Count to il faut le Foot | & le Count {ih. 111.iv.52 :
see p. 48)
Verlot Lacquay to Valet Lacquay {ih. iv.ii.2)
D. Proper names, and the spelling of proper names, are arbi-
trarily altered.
Andronici [actually a plural] to Andronicus {Titus v.iii.131)
Corioles, Carioles [the city Corioli] to Coriolus, Cariolus {Corio-
laniis i.ii.27, i.iii.99, i.vi.37, 11.ii.112)
Dion to Deon {Winter's Tale ii.i.184)
Edmund, Edmond [Langley, duke of York] to Edward {Richard II
i.ii.62, 2 Henry VI 11.ii.15)
Guildenflern (e to Guildenflar(e {Hamlet passim; see p. 49)
Gloucefter to Glocefter {Lear i.i.i s.d.)
Harry [for Henry VI] to Henry {Richard III 1v.iv.25, v.iii.127)
Poines to Poynes {i Henry IV ii.ii.4, ii.iv.i s.d., 3)
Rofmcran(e, Rofmcrance to Rofmcrof(fe {Hamlet passim)
Scoggan to Schoggan (2 Henry /Fiii.ii.29)
Torayne to Lorayne {John i.i.ii)
Changes in the Third Folio (1664)
CHANGES ADOPTED BY MANY OR ALL MODERN EDITORS
I. Thought
A. Omitted words necessary to the meaning are inserted.
F2: I know not at whofe fuite he is arrested, well; ] but is
in a fuite of buffe which refled him, that can I tell:
F3: but he's in a fuite of buffe which refted him, that I can
tell:
Errors 1v.ii.45
F2: You begge more then word then.
F3: You beg more then one word then.
AlVs Well v.ii.39
F2: Did fhe fee the while,...?
F3: Did fhe fee thee thewhile,...?
Twelfth Night iii.ii.y
F2: It is vaine that you would fpeake with Timon:
F3: It is in vain that you would fpeak with Timon:
Timon v.i.114
B. Inconsistencies of fact and circumstance are corrected.
F2: O no; for the Dukes daughter her Cofen fo | loves her,
... I that he would have followed her exile,
F3: ... I that fhe would have followed their exile.
As You Like It i.i.ioo
F2: That thou mightst joyne his hand with his,
Whofe heart within his bofome is.
F3: That thou mightfl joyn her hand with his,
As You Like It v.iv.108
F2: I perceive fir by your Generals lookes, wee fhall | be faine
to hang you.
F3: I perceive, fir, by the Generals looks,...
All's Well 1v.iii.223
F2: Peace, is a very Apoplexy, Lethargie, muU'd, | deafe,
[leepe, infenfible,
F3: ...deaf, fleepy, insenfible,
Coriolanus iv.v.223-4
247
248 CHANGES IN THE THIRD FOLIO
F2: Thefe forrowfull drops upon thy bloud-flaine face,
F3: Thefe forrowful drops upon thy blood- ftain'd face,
Titus v.iii.154
F2: But if there be, nor ever were one fuch
F3: But if there be, or ever were one fuch
Antony v.ii.96
C. Corrupt readings which take, exactly or approximately, the
form of an existing word or words, not glaringly unintelligible in the
context, are corrected.
F2: And heire and Neece, allide unto the Duke.
F3: An heir, and Neice allide unto the Duke.
Gentlemen iv.i.49
F2: The place of depth, and forry execution,
F3: The place of death and forry execution,
Errors v.i.121
F2: I I defire you more acquaintance,
F3: I I defire your more acquaintance.
Dream iii.i.181
F2: Wintred garments mnjl he linde,
F3: Winter Garments mnjl he linde,
As You Like It 111.ii.95
mgs,
mg.
F2: the ferving men | in their new fuflian, the white ftockings,
F3: the ferving-men | in their new fuftian, their white ftock-
Shrew iv.i.42
F2: but doe forfweare her
As one unworthy all the former favours
That I have fondly flatter'd them withall.
F3: That I have fondly flatter'd her withall.
Shreiv 1v.ii.31
F2 : Wid. Come, come, your mocking : we will have no | telling
F3 : Wid. Come, come, you're mocking : we will have no | tell-
Shrew v.ii.132
F2: I know a man that had this tricke of me-|lancholy hold
a goodly Mannor for a fong.
F3: ...fold a goodly Mannor for a fong.
Airs Well iii.ii.9
ADOPTED: THOUGHT: C 249
F2 : and fooles are | as like husbands, as Pilchers are to Herrings,
the husbands the bigger,
F3: ...the husband's the bigger:
Twelfth Night iii.i.32
F2: As boldneffe from my bofome, le^t not be doubted
F3; As boldneffe from my bofom, let*t not be doubted
Winter's Tale 11.ii.53
F2: Leontes...a.sks thee there Sonne forgiveneffe.
As 'twere i'th'Fathers perfon:
F3: Leontes... diskes thee the Son forgivenefs.
Winter s Tale 1v.iv.541
F2: Good keepe me fo.
F3: God keep me fo.
Henry V iv.vii.112
F2: God morrow Gallants,
F3: Good morrow Gallants,
1 Henry VI 111.ii.41
F2: A I Villaine, thou wilt betray me,
F3: Ah I Villain, thou wilt betray me,
2 Henry VI iv.x.25-6
F2: what Authority furfets one, would releeve us,
F3: what Authority furfets on, would relieve us;
Coriolanns i.i.15
F2: What ever hath bin thought one in this State
That could be brought to bodily act, ere Rome
Had circumuention :
F3: What ever hath been thought on in this State
Coriolanns i.ii.4
F2: A Carbuncle intire: as big as thou art
Weare not fo rich a lewell.
F3: A Carbuncle intire, as big as thou art.
Were not fo rich a Jewel.
Coriolanns i.iv.57
F2: if any fuch be heere,
(As it were fmne to doubt) that love this painting
Wherein you fee me fmear'd, if any feare
Leffen his perfon, then an ill report:...
Let him alone.'
F3: Leffer his perfon, than an ill report:...
Coriolanns l.vi.70
250 CHANGES IN THE THIRD FOLIO
F2: At fixteene yeeres,...
When with his Amazonian Shinne he drove
The brizled Lippes before him:
F3: When with his Amazonian Chin he drove
Coriolanus ii.ii.Sp
F2: My (fometime) General!,
I have feene the Sterne, and thou haft oft beheld
Heart-hardning fpectacles.
F3: I have feen thee Stern, and thou haft oft beheld
Coriolanus iv.i.24
F2: That like an Eagle in a Dove-coat, I
Flatter'd your Volcians in Coriolus.
F3: Flutter'd your Volcians in Coriolus.
Coriolanus v.vi.ii6
Fj: Ye white-limb'd walls, ye Ale-houfe painted fignes,
F3: Ye white-lim'd walls, ye Ale-houfe painted fignes,
Titus 1v.ii.98
Fa: Not fo well as plain-dealing, which will not caft | a man
a Doit,
F3: ...which will not CO ft a | man a Doit.
Timon i.i.214
F2: To bring Mad-flaughter into forme, and fet Quarrelling
F3: To bring Man- (laughter into form, and fet Quarrelling
Timon iii.v.27
F2: Shake my fell purpofe, nor keepe peace betweene
Th'effect, and hit.
F3: Th'effect, and it.
Macbeth i.v.44
F2: Were we before our Armes and to fight,
I fhould do thus.
F3: Were we before our Armies and to fight,
Antony 11.ii.26
F2: Or.. .bitter torture fhall
Winnow the truth from falfhood. One fpeake to him.
F3: Winnow the truth from falfhood. On, fpeak to him.
Cymheline v.v.134
D. Corrupt readings are emended by pure guesswork.
F2: He had rather venture all his Limbes for honor,
Then on ones Fares to heare it.
F3: Than one en's Ears to hear it.
Coriolanus ii.ii.79
[See p. 54.]
ADOPTED: THOUGHT: E 251
E. Superfluous words are omitted.
F2: Novel- 1 ty is onely in requeft, and as it is as dangerous to
be aged | in any kind of courfe, as it is vertuous to be conftant | in
any undertaking.
F3: ...and it is as dangerous...
Measure 111.ii.211
F2: Paul. Had fhe fuch power,
She had juft fuch caufe.
F3: She had juft caufe.
Winter's Tale v.i.6i
F2: Their cioathes are after fuch a Pagan cut too't,
F3: Their cioathes are after fuch a Pagan cut too',
Henry VIII i.iii.14
[See p. 19.]
II. Action
A. Entrances and exits are correctly indicated.
Exeunt is placed after 1. 81 instead of 1. 80 in Richard III iii.iv.
Enter Ilermia is placed after 1. 441 instead of 1. 440 in Dream iii.ii.
B. Speeches are correctly redistributed.
All's Well ii.iii.94-5, assigned by F1F2 to La[feu], is transferred
to Hel[ena].
lb. IV. iii. 78-80, assigned by F1F2 to Ber[tram], is transferred to
Cap[tain] G, usually called First Lord in modern editions.
2 Henry IV 11. i. 57-8, assigned by QF1F2 to Pag[e\, is transferred
to Fal[staff] (see p. 56).
Henry VIII iv.i.55, assigned by F1F2 to 2. [Gentleman], is trans-
ferred to I. [Gentleman].
Coriolanus i.iii.81, assigned by F1F2 to Vlug., is given to Virg[ilia].
III. Meter
A. Verses are lengthened or shortened to improve their rhythm.
F2: Be practis'd well to this, or they'l nev'r doo't.
F3: Be practis'd well to this, or they'll ne're doe't.
Merry Wives 1v.iv.64
F2 : Midnight ajjijl our mone, helpe vs to jigh and grone.
F3: Midnight ajffijl our moan,
Help us to Jigh and goran.
Much Ado v.iii.16-7
252 CHANGES IN THE THIRD FOLIO
F2: I am betrayed by keeping company
F3: I am betray'd by keeping company
Labour's 1v.iii.175
F2: Whip to our Tents, as Roes runnes ore Land.
F3: Whip to our Tents, as Roes runs ore the Land.
Labour's v.ii.309
F2: // it doe come to paffe, that any man turne AJJe:
F3: // it doe come to pafs,
That any man turne AJJe:
As You Like It 11. v. 46-7
F2: And yet, in faith, it is not his prefent want
F3: And yet, infaith, 'tis not his prefent want
/ Henry IV iv.i.44
F2: The father, rafhly flaughtered his owne Sonne;
F3: The Father rafhly flaughter'd his own Son;
Richard III v.v.25
F2: Till he behold them formed in th'applaufe,
Where they are extended: who like an arch reverb'rates
F3: Where they're extended: who like an arch reverb'rates
Troilus iii.iii.120
F2: the juft gods gainfay,
That any drop thou borrwd'ft from thy mother.
My facred Aunt, fhould by my mortall Sword
Be drained. Let me embrace thee Aiax:
F3: Be drain'd. Let me embrace thee Ajax:
Troilus IV.V.135
F2: The one part luffered, the other will I doe.
F3: The one part fufifer'd, the other will I do.
Coriolanus 11.iii.121
F2: Had we no other quarrell elfe to Rome, but that
Thou art thence Banifh'd, we would mufter all
F3: Had we no quarrel elfe to Rome, but that
Coriolanus iv.v.127
F2: Though chance of warre
Hath wrought this change of cheere,
F3: Though chance of warr hath wrought this change of cheer
Titus i.i.264
F2: What God will have difcovered for revenge,
F3: What God will have difcover'd for revenge,
Titus iv.i.75
ADOPTED: METER: A 253
F2: Even fo mayeft thou, the giddy men of Rome,
F3: Even fo may'ft thou, the giddy men of Rome;
Titus 1v.iv.87
F2: But now her price is fallen; Sir, there (he ftands,
F3: But now her price is fall'n: Sir, there llie Hands,
Lear i.i.197
F2: And am fallen out with my more headier will,
F3: And am fall'n out with my more headier will,
Lear ii.iv.io8
F2: Nev'r keepes retiring ebbe, but keepes due on
F3: Ne're keeps retiring ebbe, but keeps due on
Othello 111.iii.459
F2: Shall nev'r looke backe, nev'r ebbe to humble Love,
F3: Shall ne're look back, ne're ebbe to humble Love,
Othello 111.iii.462
F2: His Sonnes hither proclaimed the King of Kings,
F3: His Sonns hither proclaim'd the King of Kings,
Antofiy 111.vi.13
B. Prose is arranged as verse.
F2: Their welcome all, let em have kind admit- 1 tance. Mu-
ficke make their welcome.
F3: Their welcom all, let em have kind admittance.
Mufick make their welcom.
Timon i.ii. 123-4
IPossibly unintentional.]
F2: Cle. For the mofl part too, they are foolifh that are | fo.
Her haire what colour?
Mef. Browne Madam : and her forehead
F3: Cle. For the mofl part too, they are foolifh that are fo.
Her hair what colour.?
Antony 111.iii.31-2
IPossibly unintentional.]
IV. Grammar
A. Inconsistencies are corrected.
I. Tense and/or mood of verbs.
F2: untwind'd the Sifters three:
F3: untwine | the Sifters three:
2 Henry IV 11.iv.189
254 CHANGES IN THE THH^D FOLIO
F2: And patches will I get unto thefe cudgeld fcarres,
And fwore I got them in the Gallia warres.
F3: And fwear I got them in the Gallia warres.
Henry V v.i.83
F2: Curft be that heart that fore' It us to this fhift:
F3: Curfl be that heart that forc'd us to this fhift:
Titus iv.i.73
F2: Lord Junius Brutus fweare for Lucrece rape,
F3: Lord Junius Brutus fware for Lucrece rape,
Titus iv.i.92
F2: Mine eyes
Were not in fault, for fhe was beautifull:
Mine eares that heare her flattery, nor my heart.
F3: Mine ears that heard her flattery, nor my heart,
Cymbeline v. v. 64
2. Number of verbs.
F2: the reafonable fhore
That now ly foule,
F3: That now lies foul
Tempest v.i.82
F2: Manet Yorke, Warwicke, Exeter, Vernon.
F3: Manent York, Warwick, Exeter, Vernon.
I Henry VI iv.i.173 s.d.
F2: Drummes and Trumpets founds, with great \ JJtowts of the
people.
F3: Drums and Trumpets found,...
Coriolanus v.vi.49 s.d.
F2 : Exit France and Cor.
F3: Exeunt France b' Cor.
¥2'. The people knowes it,
F3: The people know it,
3. Person.
F2: thou did promife
F3: thou didft promife
Lear i.i.282 s.d.
Antony iii,vi.22
Tempest i.ii.249
F2: Moft cruelly
Did thou Alonfo, ufe me,
F3: Didft thou Alonfo, ufe me.
Tempest v.i.72
ADOPTED: GRAMMAR: A 255
F2: How now? why ftarts thou?
F3: How now? why ftartft thou?
2 Henry VI iv.i.32
F2: Thou that fo Iloutly hath refifted me,
F3 : Thou that fo floutly haft refifted me,
J Henry VI 11. v. 79
F2: Thy Balme wafht off, wherewith thou was Annointed:
F3: Thy Balm wafht off wherewith thou wait annointed:
J Henry VI iil.i.17
4. Number of nouns and pronouns.
F2: My father is gone wilde into his Grave,
(For in his Tombe, lye my Affections)
And with his Spirits, fadly I furvive,
To mocke the expectation of the World:
F3: And with his Spirit, fadly I furvive,
2 Henry IV v.ii.125
F2: With Blouds, and Sword and Fire, to win your Right:
F3: With Bloud, and Sword and Fire, to win your Right:
Henry V i.ii.131
F2: My Faction if thou llrengthen with thy Friend?
F3: My Faction if thou flrengthen with thy Friends
Titus i.i.214
F2 : Hes but a mad Lord, and nought but humors fwaies | him.
F3: He's but a mad Lord, and nought but humour fwaies ]
Timon iii.vi.iii
5. Case (all the addition of -{')s to indicate the possessive case.)
F2: Ariel(l Song.
F3: Ariel's Song.
Tempest i.ii.375, 396
F2: Hold, hurt him not for God fake,
F3: Hold, hurt him not for Gods fake.
Errors v.i.33
B. Omitted words necessary to completeness of sentence structure
are inserted.
F2: Taurus? That fides and heart.
F3: Taurus? That's fides and heart.
Twelfth Night i.iii.130
him.
256 CHANGES IN THE THIRD FOLIO
F2: DucheJJe of Yorke, and Marqiieffe Dor Jet,
F3: Duchefs of York, and Marquefs of Dorfet.
Richard III iv.i.i s.d.
F2: Another Alarum, and Martins folloives them to \ gates,
and is fhut in.
F3: ...and Martins follows them to \ the gates,...
Coriolanus i.iv.43 s.d.
F2: he could not
Carry his Honors even : whether 'was Pride
Which out of dayly Fortune ever taints
The happy man;
F3: Carry his Honors even: whether 'twas Pride
Coriolanus iv.vii.37
F2: Fight, and yong Seyward Jlaine.
F3: Fight, and young Seyward' s /lain,
Macbeth v.vii.ii s.d.
V. Style
A. The current is substituted for an obsolescent, archaic, or in-
elegant word or form.
accompt to account {John 1v.ii.216, Macbeth v.i.36)
ballet to ballad {Winter's Tale 1v.iv.254)
breath [verb] to breathe {Antony 11.ii.236, 111.xii.14)
buffmg to buzzing (2 Henry IV ill. i. 11)
crak'd to crack'd {Cymbeline v.v.177)
difgefl to digeft {Caesar i.ii.300)
Eight to Eighth {Henry VIII head-title and running-titles, Mac-
beth IV. i. 119)
erne to yern {Henry V ii.iii.3, 6)
Fift to Fifth (2 Henry IV D.P. [twice]; Henry V head-title and
running-titles [19 times])
hun[d]reth to hundred {Titus i.i.350)
Impoftrue [ = imposture] to Impoftor {AlVs Well ii.i.154)
it to it's, its {Tempest ii.i.157, Winter's Tale 11.iii.177, 2 Henry IV
i.ii.109, Henry V v.ii.40)
Major to Mayor {Richard III iii.v.13, 111.vii.55)
Moneth(s to Month (s, monthe(s {AlVs Well 1v.iii.82, Twelfth
Night 11.V.41, 2 Henry IV 1v.iv.124, 3 Henry VI i.i.112, Richard
III i.ii.240, Troilus III. ii. 112, Coriolanus iv.i.38)
Moode to Mode (2 Henry IV iv.v.200)
preafe [verb] to preffe (5 Henry VI iii.i.19)
randon(e to random (e {Errors i.i.43, / Henry VI v.iii.85)
ADOPTED: STYLE: A 257
recompt to recount (j Henry VI ii.i.96)
requit(ted to requite (d {Coriolanus iv.ii.12, iv.v.70)
Retrait to Retreat (2 Henry IV 111.ii.260)
reverent to reverend {Errors v.i.124, Titus iii.i.23)
Shrodeneffe to Shrewdnefs {Antony 11.ii.73)
fhrow'd to fhrew'd {Shrew i.ii.68)
Sixt to Sixth (/ Henry VI head-title and running titles [15 times];
2 Henry VI [14 times]; j Henry VI [9 times])
founded, founds to fwooned, fwounds {Titus v.i.119, Hamlet v.ii.
300)
fowed to fewed {Titus 11.iv.43)
fpet to fpit {Merchant i.iii.107)
flerv'd, fterve to ftarv'd, (larve (2 Henry VI i.i.130, 224, Corio-
lanus iv.ii.51, Timon i.i.250, Cymheline i.iv.i6o)
ftroke ^0 llruck {Merry Wives v.v.i, Shreiv il.i.152)
ftrooke /o ftruck {Merry Wives v.ii. 10, Errors ii.i.52, iii.i.56, Shrew
II. i. 352, 2 Henry IV iv.v.152, v.ii. 80, Henry V 1v.viii.25, Timon
i.i.25, Caesar v.i.44, Hamlet 11.ii.587)
threating to threatning {Shrew v.ii. 136)
varrying to varying {Antony i.iv.46)
vawting to vaulting {Henry V v.ii. 13 7)
vayl'd to veil'd {Coriolanus i.ii.20)
vildeft, vilde, vildly to vilefl, vile, vilely {All's Well ii.i.173, John
III. i. 165, 2 Henry /Fii.iv.289)
Whether to Whither {Henry VIII v.i.6, Coriolanus i.ii.i6, Caesar
iii.iii.6, 13)
who fome ever to whofoever {Troilus ii.i.61-2)
wraftle to wreftle {Antofiy 111.ii.62)
yearne to yarn {Coriolanus i.iii.83)
B. Synonyms, equivalent idioms, and alternate forms of the same
word are substituted.
F2: Draw out his Table-booke.
F3: Draw's out his Table book.
F2: Wrastle.
F3: They Wrajlle.
F2: Mary, Heaven forbid.
F3: Marry, Heaven forbid.
Labour's v.i.13
As You Like It i.ii.191
Richard II iv.i.114
F2: To have fmell'd like a Foole.
F3: To have (melt like a fool.
Cymbeline ii.i.i6
258 CHANGES IN THE THIRD FOLIO
C. In one speech, the spelling of a word is altered to indicate the
pronunciation of a character speaking broken English.
F2: Cains. Vat is the clocke, lacke.
Fg: Cains. Vat is de clock, Jack.
Merry Wives ii.iii.3
D. The order of words is altered.
F2: Sir Richard, what thinke you.? you have beheld.
Or have you read, or heard, or could you thinke?
F3: Sir Richard, what think you? have you beheld,
John 1v.iii.41
E. Words and phrases from foreign languages are corrected.
F2: Novi hominum tanquam te,
F3: Novi hominem tanquam te,
F2 : ne inteligis do- \ mine,
F3: ne intelligis \ domine,
F2: Inprimis,
F3: Imprimis,
F2: S. laques la grand.
F3: S. Jaques le grand.
Labour s v.i.8
Labour's v.i.22
Shrew 1v.iii.131
All's Well 111.V.31
F2: Exeunt Coriolanus, Cominius, with Cumalijs.
F3: Exeunt Coriolanus, Cominius, Cum aliis,
Coriolanus 111.iii.137
F2: Ad manus fratrum, facrifice his flefh:
F3: Ad manes fratrum, facrifice his flefh,
Titus i.i.98
F. The spelling of proper names is corrected.
[These lists are not complete; see note p. 138.]
I. Historical and mythological personages, etc.
Auguctus Caefar to Auguflus {Cymbeline iii.i.6i)
Hecat to Hecate {Lear i.i.109)
Romaines to Romans (2 Henry /Fii.ii.ii8)
Sabboth to Sabbath {Richard III Ii1.ii.113)
Samiramis to Semiramis {Titus ii.i.22)
ADOPTED: STYLE: F 259
2. Geographical names.
Athica to Ithaca {Coriolanus i.iii.84)
Byrnam to Birnam {Macbeth v.iii.2, v.iv.3)
Cicily to Sicily {Titus iii.i.242)
Hircan to Hyrcan {Macbeth iii.iv.ioi)
Illium, Illion to Ilium, Ilion {Troilus i.ii.43, 46, iv.v.112, 216,
v.viii.ii)
lury to Jewry {Antony iii.iii.3)
Kymmalton to Kimbolton {Henry F//J iv.i.34)
Malmefey to Malmfie {Richard III I.iv,i52)
Sardiniar to Sardinia {Antony 11.vi.35)
Wallon to Walloon (/ Henry VI i.i.137)
3. Characters in the plays.
Apermantus to Apemantus {Timon i.ii.23, 60, 70)
Birone to Biron {Labour's v.ii.133)
Clotten to Cloten {Cymbeline iv.i.i s.d.)
Falconbridge to Faulconbridge {John 111.iv.171)
Glendour to Glendower (2 Henry IV iii.i.103)
Poines, Pointz, Points to Poins (/ Henry IV 11.iv.458, 2 Henry
IV seven times; see p. 57)
Ptolomy to Ptolemy {Antony i.iv.17, 111.vi.15)
Raphe to Ralph (2 Henry IV 111.ii.98)
Rembrooke to Pembrook (3 Henry VI iv.i.8 s.d.)
Sillius to Silius {Antony iii.i.ii, 13)
Worfter to Worcefter {John v.vii.99)
VI. Punctuation
F2: And for thou waft a Spirit too delicate
To Act her earthy, and abhord commands,
...fhe did confine thee
F3: And, for thou waft a Spirit too delicate
Tempest i.ii.272
F2: My name is Corporall ] Nim: I fpeake, and I avouch;
'tis true:
F3: My name is Corporall | Nim: I fpeak it, and I avouch,
tis true:
Merry Wives ii.i.120
F2: Stand thee by Frier, father, by your leave,
F3: Stand thee by Frier: father, by your leave,
Much Ado iv.i.22
260 CHANGES IN THE THIRD FOLIO
F2: Bene. This lookes not like a nuptiall.
Hero. True, O God!
F3: i/gro. True/ O God/
Much Ado iv.i.67
F2: come, binde them | thou naughty varlet.
F3: come, bind them; | thou naughty varlet.
Much Ado IV. ii. 66-7
F2: I fpeake not like a dotard, ...to bragge.
What I have done being yong, or what would doe,
Were I not old, know Claudio to thy head,
F3: Were I not old: know Claudio to thy head.
Much Ado v.i.62
F2: What, fhalt thou ex- [change for ragges, roabes: for
tittles titles, for thy felfe | me.
F3: What, flialt thou ex- [change for rags? roabs: for tittles?
titles: for thy lelfe? | me.
Labour's iv.i.77-8
F2: Live thou, I live with much much more difmay
I view the fight, than thou that mak'ft the fray.
F3: Live thou, I live, with much much more difmay
Merchant iii.ii.6i
F2: Marry I will let them play, it is not a Comon-|ty, a
Chriftmas gambold, or a tumbling tricke?
F3: Marry I will, let them play, it is not a Comen- 1 ty, a
Christmas gambold, or a tumbling trick?
Shrew Ind. ii.134
F2: This is true that I fay, and I had thee in place where |
thou fhould know it.
F3: This is true that I fay, and I had thee in place | where,
thou fhouldft know it.
Shrew 1v.iii.147
F2: Fond done, done, fond was this King Priams joy,
F3: Fond done, done fond, was this King Priam's joy?
AlVs Well i.iii.68-9
F2: If it be not, forfweare't how ere I charge thee,
F3: If it be not, forfwear't: how ere I charge thee,
AlVs Well i.iii.174
F2: Thinke upon patience, pray you Gentlemen,
I have felt fo many quirkes of joy and greefe,
F3: Think upon patience; pray you Gentlemen,
AWs Well 111.ii.46
ADOPTED: PUNCTUATION 261
F2: but more then that he loved her,
F3: but more then that, he loved her;
Airs Well v.iii.254
F2: Communicat'fl with Dreames (how can this be?)
With what's unreall : thou coactive art,
F3: With what's unreal, thou coactive art,
Winter's Tale i.ii.140-1
F2: Is not the Lady Constance in this troope?
I know fhe is not for this match made up,
Her prefence would have interrupted much,
F3: I know fhe is not, for this match made up,
John II. i. 541
F2: Vp once againe: put fpirit in the French,
If they mifcarry: we mifcarry too.
F3: If they mifcarry, we mifcarry too.
John v.iv.2-3
F2: His Lady banifht, and a Limbe lopt off
This Staffe of Honor raught, there let it fland.
Where it befl fits to be. in Jlenries hand.
F3: His Lady banifht, and a limb lopt off,
2 Henry VI ii.iii.42-3
F2: My Eyes too quicke, my Heart o're-weenes too much,
F3: My eye's too quick, my heart o're-weens too much,
J Henry VI iii.ii.144
F2: And ftands Coloffus-wife waving his beame,
Vpon the pafhed courfes of the Kings;
Epijlropus and Cedus, Polixines is flaine:
Fg: Upon the pafhed courfes of the Kings,
Troiliis v.v.io
F2: What ever hath bin thought one in this State
That could be brought to bodily act, ere Rome
Had circumuention :
F3: Had circumvention?
Coriolanus i.ii.6
F2: Wee'l breake our Walles
Rather then they fhall pound us up our Gates,
Which yet feeme fhut, we have but pin'd with Rufhes,
F3: Rather than they fhall pound us up, our Gates,
Coriolanus i.iv.17
F2: Our very Priefts must become Mockers, if they | fhall
encounter fuch ridiculous Subjects as you are, when | you fpeake
befl unto the purpofe. It is not worth the | wagging of your Beards,
262 CHANGES IN THE THIRD FOLIO
F3: ...when I you fpeak beft unto the purpofe, It...
Coriolaniis ii.i.77-8
F2: To brag unto them, thus I did, and thus
Shew them th'unaking Skarres, which I fhould hide,
F3: To brag unto them, thus I did, and thus,
Coriolaniis 11. ii. 145-6
F2: For them, I cannot doe it to the Gods,
Mull I then doo't to them?
F3: For them? I cannot do it to the Gods,
Coriolaniis 111.ii.38
F2: Within thine eyes fate twenty thoufand deaths
In thy hands clutcht: as many Millions in
Thy lying tongue, both numbers. I would fay
Thou lyeft
F3: Within thine eyes fate twenty thoufand deaths,
In thy hands clucht as many Millions, in
Thy lying tongue, both numbers, I would fay
Coriolaniis iii.iii.71
F2: let him choofe
Out of my Files, his projects, to accomplifh
My befl and frefhefl men,
F3: Out of my Files, his projects to accomplifh,
Coriolaniis v.vi.34
F2: Give us the proudeft prifoner of the Gothes,
That we may hew his limbes, and on a pile
Ad manus fratrum, facrifice his fiefh:
Before this earthly prifon of their bones,
F3: Ad manes fratrum, facrifice his flefh,
Titus i.i.98
F2: I now begin our forrowes to approach,
F3: I, now begin our forrows to approach,
Titus iv,iv.72
F2: Inough of this I pray the hold thy peace.
F3: Enough of this, / pray thee hold thy peace.
Romeo i.iii.50
F2: Winne us with honefl Trifles, to betrays
In deepeft confequence,
F3: Winne us with honeft trifles, to betray's
Macbeth i.iii.125
ADOPTED: PUNCTUATION
263
F2: And He be plac'd fo, pleafe you in the eare
Of all their conference.
F3: And rie be plac'd, fo pleafe you, in the ear
Hamlet iii.i.184
Camell.
F2: Doe you fee that Clowd? thats almoft in fhape | like a
F3: Doe you fee that Cloud, thats almoft in fhape | like a
Camell.
Hamlet iii.ii. 366-7
F2: I doe not well know my L. if it fhall pleafe you
F3: I do not well know, my Lord; if it fhall pleafe you
Lear i.ii.76
F2: Returne with her?
Why the hot-bloodied France, that dowerleffe tooke
Our yongefl borne, I could as well be brought
To knee his Throne,
F3: Why? the hot-bloudied France, that dowerlefs took
Lear 11.iv.211
F2: I did inquire it,
And have my learning from fome true reports
That drew their fwords with you, did he not rather
Difcredit my authority with yours,
F3: That drew their fwords with you. Did he not rather
Antony ii.ii.52
F2: The Honour is Sacred which he talkes on now,
Suppofing that I lackt it: but on Cxfar,
The Article of my oath.
F3: Suppofmg that I lackt it: but on, Cxfar,
Antony ii.ii.90
F2: I found her trimming up the Diadem;
On her dead Miftris, tremblingly fhe ftood,
F3: I found her trimming up the Diadem,
Antony v. ii. 338-9
F2: The Cloyed will:
That fatiate yet unfatisfi'd defire,
F3: The Cloyed will,
Cymbeline i.vi.46
F2: Now for the Counfaile of my Son and Queene,
I am amaz'd with matter.
F3: Now for the Counfel of my Son and Queen.
Cymbeline 1v.iii.27
264 CHANGES IN THE THIRD FOLIO
F2: Mine eyes
Were not in fault, for fhe was beautifull:
Mine eares that heare her flattery, nor my heart.
That thought her like her feeming.
F3: Mine ears that heard her flattery, nor my heart,
Cymbeline v. v. 64
CHANGES WHICH RESTORE THE READING OF AN
EARLIER TEXT
I. Thought
A. Omitted words necessary to the meaning are inserted.
F2: fo will you fay, | when have feene the fequele.
F3: fo will you fay, | when you have feen the fequele.
Miich Ado 111.ii.121
F2: I cannot fhew it | rime,
F3: I cannot fhew it in rime.
Much Ado v.ii.32
F2: therefore never flout at me, for I have faid | againfl: it:
Fg: ...for what I have ] faid againft it:
Much Ado v.iv.ios
F2: If do not put on a fober habite,
F3: If I doe not put on a fober habit.
Merchant 11.ii.175
F2: Therefore firra, with a new wound in your thigh | come
you along me.
F3: ...come you along with me.
1 Henry IV v.iv.128
F2: What faid M. Dombledon, about | the Satten for fhort
Cloake, and Slops?
F3: ...for my fhort Cloak, and Slops.?
2 Henry I V i.ii.28
F2: I do allow this Wen to be as familiar with m-e, | as my
dogge. and he holds his place, for looke you he | writes.
F3: ...for look you how | he writes.
2 Henry IV 1i.ii.104
F2: Safer fhall he upon the fandie Plaines,
Then where Caftles mounted fland.
F3: Safer fhall he be upon the sandie Plaines,
2 Henry VI i.iv.36
anon.
RESTORING: THOUGHT: A 265
F2: And point by point the Treafons his Maifler,
He fhall againe relate.
F3: And point by point the Treafons of his Mafter,
Henry VIII l.ii.y
F2: Or be a knowne friend 'gainft Highneffe pleafure,
F3: Or be a known friend 'gainft his Highneffe pleafure,
Henry VIII iii.i.85
F2: Would I could fee Troylus now, you fhall Troy- \liis anon.
F3: Would I could fee Troilus now, you fhall fee | Troilus
Trail us i.ii.209
F2: I I marvell where Troylus; harke, doe you not heare the |
people cry Troylus}
F3: I I marvel where Troilus is;...
Troilus i.ii.2i6
F2: As a double hunt were heard at once,
F3: As if a double hunt were heard at once,
Titus 11.iii.19
F2: there is a kind confeffion in your lookes;
F3: there is a kind of confeffion in your looks;
Hamlet 11.ii.278
F2: Nor doe not faw the Ayre too | much your hand thus,
F3: Nor do not faw the aire too | much with your hand thus,
Hamlet in.ii.4-5
F2: W^ere all thy Letters Sunnes, I could net fee.
F3: Were all thy Letters Suns, I could not fee one.
Lear 1v.vi.140
F2: I have feene him France: we had very ma-|ny there,
F3: I have feen him in France:...
Cymbeline i.iv.io
B. Inconsistencies of fact and circumstance are corrected.
F2: And that is falfe thou doft report of us.
F3: And that is falfe thou doft report to us.
Errors v.i.179
F2: this is abhominable, which he would call | abhominable:
F3: this is abhominable, which we would call | abominable:
Labour's v.i.21
F2: Do make thy felfe a fuitor to your daughter,
F3: Do make my felf a fuitor to your daughter.
Shrew ii.i.89
266 CHANGES IN THE THIRD FOLIO
F2: Du. ...To her in hafle? give her this lewell: fay,
Thy love can give no place, bide no denay.
F3: My love can give no place, bide no denay.
Twelfth Night 1 1 . i v . 1 2 3
F2: Doe thou amend thy Face, and He amend thy | Life.
F3: Doe thou amend thy Face, and I'le amend my | Life.
I Henry IV 111.iii.24
F2: Three or foure Wenches where I | flood, cryed, Alaffe
good Soule, and forgave him with | all their hearts: But there's heed
to be taken of them; if | Cxjar had ftabl'd their Mothers, they would
have done no | leffe.
F3: ...But there's no heed to be taken of them;...
Caesar i.ii.272
F2: When came you to this?
F3: When I came this to you?
F2: And goe the Foole among.
Fj,: And go the Fools among.
Lear i.ii.55
Lear i.iv.176
F2: And not fend backe my Meffengers.
F3: And not fend back my Meffenger.
Lear ii.iv.2
F2: I doubt of his Tmperance,
F3: I doubt not of his Temperance,
Lear 1v.vii.24
C. Corrupt readings which take, exactly or approximately, the
form of an existing word or words, not glaringly unintelligible in the
context, are corrected.
F2: hence is Ambition growing:
F3: hence his Ambition growing:
Tempest i.ii.105
F2: I will have done on't;
F3: I will have none on't:
Tempest iv.i.246
F2: Longer then I prove royall to your Grace,
F3: Longer then I prove loyal to your Grace,
Gentlemen 111.ii.2c
F2: To put the finger in thy eye and weepe;
F3: To put the finger in the eye and weep;
Errors 11.ii.203
RESTORING: THOUGHT: C 267
F2: And fome fuch flrange bull leapt your fathers Cow,
A got a Calfe in that fame noble feat,
F3: And got a Calf in that fame noble feat,
Much Ado v.iv.50
F2: No egma, no riddle, no Lenvoy, no falve, in the | male fir.
Or fir, Plantan, a plaine Plantan: no Lenvoy, no | Lenuoy, or Salve
fir, but a Plantan.
F3: ...O fir, Plantan, a plain Plantan:...
Labour's ill. i. 68
F2: Alas, what danger will it be to us,
(Maides as we are) to travell for farre?
F3: (Maids as we are) to travell forth fo far.?
As You Like It i.iii.105
F2: Was never Gentleman thus greev'd as I?
F3: Was ever Gentleman thus griev'd as I?
Shrew ii.i.37
F2: deny him, | forfweare him, or elfe we are all done.
F3: deny him, | forfwear him, or elfe we are all undone.
Shrew v.i.98
F2: I am as mad as he,
If fad and mercy madneffe equall be.
F3: If fad and merry madneffe equall be.
Tivelfth Night 1 1 1 . i v . 1 5
F2: The which no blame can cure, but his heart blood
F3: The which no balme can cure, but his heart blood
Richard II i.i.172
F2: I know his death will be a Match of Twelve-fcore.
F3: I know his death will be a March of Twelve-fcore.
I Henry /Fii.iv.528
F2: thrice from the Banks of Wye,
And fandy-bottom'd Severne, have I hent him
F3: And fandy-bottom'd Severn, have I lent him,
1 Henry IV in. 1.66
F2: Let it alone, and make other fhift:
F3: Let it alone, Pie make other fhift:
2 Henry IV ii.i.150
F2: Awake, away, Englifh Nobility,
F3: Awake, awake, Englifh Nobility,
I Henry VI i.i.78
268 CHANGES IN THE THIRD FOLIO
F2: Vndaunting fpirit in a dying brefl,
F3: Undaunted fpirit in a dying breaft,
I Henry VI Iii.ii.99
F2: Why fpeak'fl thou not? What ranfom mufl I pray?
Fs: Why fpeak'Il thou not.? What ranfome mufl I pay?
/ Henry VI v.iii.77
F2: As for the Brat of this accufed Duke,
F3: As for the Brat of this accurfed Duke,
J Henry VI i.iii.4
F2: And all thofe friends, that deme to follow me.
Fg: And all thofe friends, that deign to follow me.
J Henry VI iv.vii.39
F2: They are at hand, and ready to affect it,
F3: They are at hand, and ready to effect it,
Troiliis iv.ii.68
F2: The luftre in your eye, heaven in your cheeke,
Pleades your faire vifage, and to Diomed
You fhall be miftreffe,
Fg: Pleads your fair ufage, and to Diomed
Troilus iv.iv.ii8
F2: Diomed, Chalcas (I thinke) wher's you Daughter?
F3: Diomed, Chalcas I think, where's your Daughter?
Troilus v.ii.3
F2: Farewell: yes, foft: Hector I take my leave;
F3: Farewel; yet, foft: Hector I take my leave;
Troilus v.iii.89
F2: that ftole I old Moufe-eaten dry cheefe, Nejlor:
F3: that ftale | old Moufe-eaten dry-cheefe, Neftor:
Troilus v.iv.io
[See p. 55.]
F2: They have preft a power, but it is not knowne
Whether for Eaft or Weft : the Death is great.
The people Mutinous:
F3: Whether for Eafl or Weft; the Dearth is great,
Coriolanus i.ii.io
trates
F2: a brace of un- [meriting, proud, violent, refty Magiftrates
F3: a brace of un- 1 meriting, proud, violent, tefty Magif-
Coriola^ms ii.i.40
RESTORING: THOUGHT: C 269
F2: And to the Battaile came he, where he did
Runne recking o're the lives of men, as if
'Twere a perpetuall fpoyle;
F3: Run reeking o're the lives of men, as if
Coriolaniis 11.ii.117
F2: Sicin. We fhould by this to all our Lamentation,
If he had gone forth Counfell, found it fo.
F3: If he had gone forth Conful, found it fo.
Coriolaniis iv.vi.35
F2: Tribunes I thanke you, and this fure I make,
F3: Tribunes I thank you, and this fute I make,
Titus i.i.223
F2: My griefe was at the light before thou cam'ft,
F3: My grief was at the height before thou cam'ft,
Titus III. i. 70
F2: I would we had a thoufand Romane Dames
At fuch a bay, by turne to ferve out luft.
F3: At fuch a bay, by turn to ferve our luft.
Titus 1v.ii.42
F2: The Ocean fwells not fo at Aaron ftormes:
F3: The Ocean fwells not fo as Aaron ftorms;
Titus 1v.ii.139
F2: Complots of Mifchiefe, Treafon, Villaines
F3: Complots of Mifchief, Treafon, Villanies
Tittis v.i.65
F2: Scattred by windes and high tempeftuous guefts:
F3: Scattred by winds and high tempeftuous gufts,
Titus v.iii.69
F2: Have at the Coward.
F3: Have at thee Coward.
Romeo i.i.70
F2: Nor bid th'incounter of affailiug eyes.
F3: Nor bide th'incounter of affailing eyes,
Romeo i.i.211
F2: He give the Armour to keepe off that word,
F3: He give thee Armour to keep off that word,
Romeo 111.iii.54
F2: If rather then to marry Countie Paris
Thou haft the ftrength of will to lay thy felfe.
270 CHANGES IN THE THIRD FOLIO
F3 : Thou haft the ftrength of will to llay thy felf ,
Romeo iv.i.72
[See above, p. 195.]
F2 : I am almofl afraid to fland along
F3 : I am almoft afraid to fland alone
Romeo v.iii.io
F2: The deede of Saying is quiet out of ufe.
F3: The deed of Saying is quite out of ufe.
Timon v.i.25
F2: Having often of your open Bounty tefted,
F3: Having often of your open Bounty tafted,
Timon v.i.56
F2: And his great Love ffharpe at his Spurre) hath holpe him
F3: And his great Love (fharp as his Spur) hath holp him
Macbeth i.vi.23
F2: Shall rife fuch Artificiall Sprights,
F3: Shall raife fuch Artificial Sprights,
Macbeth iii.v.27
F2: My honour is almoft come,
F3: My hour is almoft come,
F2: Won to this fhamefull Luft
Fa: Won to his fhamefull Luft
Hamlet i.v.2
Hamlet i.v.45
F2: Sure the Action to the word,
F3: Sute the Action to the word,
Hamlet 111.ii.17
F2: thus wide He hope my Armes, —
F3: thus wide Fie ope my Armes,
Hamlet iv.v.142
F2: Nay but here you Goodman Delver.
F3: Nay but hear you Goodman Delver.
Hamlet v.i.14
F2: Follow me, that fhalt ferve me,
F3: Follow me, thou fhalt ferve me,
Lear i.iv.40
F2: one whom I will beate into clamours whining,
F3: one I whom I will beat into clamorous whining,
Lear 11.ii.21
RESTORING: THOUGHT: C 271
F2: You are a fpirit I know, where did you dye?
F3: You are a fpirit I know, when did you die?
Lear 1v.vii.49
F2: That he would fteale away fo guilty-Hke,
Seeing your comming.
F3: Seeing you comming.
Othello 111.iii.41
F2: And carry backe to Sicily much tall youth.
That elfe much perifh heere.
F3: That elfe muft perifh here.
Antony ii.vi.8
F2: Your prefent needs muft puzle Anthony,
F3: Your prefence needs muft puzzle Anthony,
Antony iii.vii.io
F2: By Hercules I thinke I am i'th' light.
F3: By Hercules I think I am i'th'right.
Antony iii.vii.67
F2: I fee your angry:
F3: I fee you're angry:
Cymheline 111.vi.55
F2: Tweene man, and man, they waigh not every ftampe:
Thou light, take Peeces for the figures fake,
F3: Though light, take Pieces for the figure's fake,
Cymheline v.iv.25
D. Corrupt readings are emended by pure guesswork.
F2: Out of my doore you Witch, you | Rag,
F3: Out of my door you Witch, you | Hag,
Merry Wives 1v.ii.163
F2: I duly am inform 'd.
His grace it Marfellis,
F3: His grace is at Marfellis,
All's Well iv.iv.9
F2: Hath Butler bought thofe horfes from the Sheriffe?
F3: Hath Butler brought thofe horfes from the Sheriff?
I Henry IV 11.iii.64
[See p. 54.]
F2: Thou that contrived'ft to murther our dread Lord,
F3: Thou that contrived'ft to murther our dead Lord,
I Henry VI i.iii.34
272 CHANGES IN THE THIRD FOLIO
F2: 'Tis no matter, let us goe: There's few or uone will | enter-
taine it.
F3: 'Tis no matter, let it go:...
Richard III i.iv.130
F2: True fwaines in love, fhall in the world to come
Approve their truths by Troyliis, when their rimes,...
Want fmiles.-
F3: Want fimiles:
Troilus 111.ii.172
F2: We two...muft poorely fell our felves.
With the rude brevitie and difcharge of our
Injurious time; now with a robbers hafte
Crams his rich theeverie up,
F3: With the rude brevity and difcharge of one;
Injurious time, now with a robbers hafte
Troilus iv.iv.40
F2: Behold in us, weele follow where thou lead 'ft,
F3: Be bold in us, we'l follow where thou lead'ft,
Titus v.i.13
F2: Let in the Maid, let in a Maid,
F3: Let in a Maid, that out a Maid
Hamlet iv.v.52
F2: I crave no more than hath your Highneffe offer'd,
F3: I crave no more then what your Hignefs offer'd
Lear i.i.194
F2: Whether I in any juft terme am Afiirn'd
To love the Moore?
F3 : Whether I in any juft terme am AfRn'd
Othello i.i.39
F2: give to a gratious Meffage
An hoft of tongues, but let it tydings tell
Tftemrelves when they be felt.
F3: An hoft of tongues, but let ill tidings tell
Themfelves when they be felt.
Anto?iy 11.V.87
E. Superfluous words and lines are omitted.
F2: As bright Apollo's Lute, ftrung with his haire.
As bright Apollo's Lute, ftrung with his haire.
F3: As bright Apollo's Lute, ftrung with his hair.
Labour's 1v.iii.339
RESTORING: THOUGHT: E 273
F2: How fhall I know if I do choofe the right?
How fhall I know if do choofe the right.
F3: How fhall I know if I doe choofe the right?
Merchant ii.vii.io
F2: what tedious homilie of | Love have you wearied your
parifhioners withall, and ne-|ver cride, have your parifhiones
withall, and never cri'de, | have patience good people.
F3: What tedious homily of | Love have you wearied your
Parifhioners withall, and | never cri'd, Have patience good people.
As You Like It 111.ii.147
F2: if I did not thinke that thou hadft beene | an Ignis fatuns,
F3: if I did not think thou hadft been an Ignis fatiius,
I Henry IV iii.iii.38
F2: Madam he comforts you,
Can you make you Greater then the Queene of Gothes?
F3: Can make you Greater than the Queen of Gothes?
Titus i.i.269
[In F2 the first yoii is probably an unconscious anticipation of the second, which
corrects the your of Fi.]
IL Action
A. Entrances and exits are correctly indicated.
Exeunt is added at Othello iii.i.55.
Exit is omitted at Troilus iv.iv.ioo.
B. Stage-directions are correctly emended.
F2: Glendower fpeakes to him Weljh, and flie an-\ fiver es him
F3: Glendower /peaks to her Weljh,...
I Henry IV ill. i. 197
F2: Enter Hotspurre.
F3: Enter Hosteffe.
I Henry IV 111.iii.51
F2: Scaena Quinta.
F3: Scena Quarta.
I Henry IV v.v.i
F2: Enter Gloujler, and an Oldman.
F3: Enter Glofter led by an old man.
Lear iv.i.9
C. Speeches are correctly redistributed.
Errors iii.ii.177-83, assigned to Dro[mio] in F2, is transferred to
Ant[ipholus of Syracuse].
274 CHANGES IN THE THIRD FOLIO
Much Ado I. i. 41-3, assigned to Mef[senger] in F2, is transferred
to Beat{rice\.
Much Ado Ii.i.ii6, printed without speech-prefix in F2, is given
to Beat[rice].
Much Ado iii.iv.y, lo-ii, 16, assigned in F2 to Bero., are trans-
ferred to Hero.
Labour's i.ii.13-5, assigned to Boy in F2, is transferred to Brag-
[gart].
Dream iii.ii.94-9, assigned to Rob[in] in F2, is transferred to
Ob\eron].
Dream 111.ii.320, assigned to Her[mia] in F2, is transferred to
Hel[ena].
Merchant i.ii.50-8, assigned to Pro. in F2, is transferred to Por[tia].
As You Like It iv.i.28-9, assigned to Orl[ando] in F2, is trans-
ferred to Jaq[ues].
As You Like It iv.i.65-9, assigned to Orl[ando] in F2, is transferred
to Rof[alind].
AlVs Well 11.iii.12, assigned to 01. Fal. in F2, is given to Ol[d]
Laf[eu].
Airs T^e// iii.vi.18-28, assigned toG. E. by F2, is given to Cap[tain]
E. {Second Lord in modern editions),
AlVs Well v.iii.193-7, assigned to Boun. in F2, is given to Old
La[dy\.
Twelfth Night ii.iv.72-7, assigned to Duk[e] in F2, is transferred
to Clo[wn].
Winter s Tale iv.iv. 478-96, assigned to Vio. in F2, is transferred
to Flo[rizel].
1 Henry IV 11. iv. 372-6, assigned to Prin[ce] in F2, is transferred
to Fal[staff].
2 Henry IV i.i.2, assigned to Pro. in F2, is given to Por[ter]. (Q)
Henry Fiii.vii.45-6, assigned to Well, in F2, is given to Dolph[in].
Richard III i.ii.144, printed without speech-tag in F2, is given
to Rich[ard]. (Qq)
Richard III i.iv. 267-8, printed without speech-tag in F2, is given
to I. [Murderer]. (Qq)
Troilus III. i. 81, assigned to Pan[darus] in F2, is transferred to
Par[is]. (Q) ^
Coriolamis in.i.113-5, assigned to Com[inius] in F2, is transferred
to Corio[lanus].
Coriolamis iv.vi. 143-6, assigned to 2 [Citizen] in F2, is transferred
to 3. [Citizen].
Titus 1i.iii.172, printed without speech-tag in F2, is given to
Tam[ora]. (Qq)
Macbeth 1v.ii.63, assigned to Son in F2, is transferred to Wife.
Hamlet 11.1.54-68, assigned to Reynol[do] in F2, is transferred to
Pelon[ius]. (Qq)
RESTORING: ACTION: C 275
Lear i.iv.97, assigned to Lear in F2, is transferred to Kent.
Antony v.ii.270-75, assigned to Cleo[patra\ in F2, is transferred
to Clo[wn].
III. Meter
A. Verses are lengthened or shortened to improve their rhythm.
F2: Loren. ...As farre as Belmont.
lef. And in fuch a night.
F3: Jef. In fuch a night.
Merchant v.i.17
F2: lej. ...And ne're a true one.
Loren. And in fuch a night
F3: Loren. In fuch a night
Merchant v.i.20
F2: But that the people praife her for vertues,
F3: But that the people praife her for her vertues,
As You Like It i.ii.259
F2: Of greateft luftice. Write, and write Rynaldo,
F3: Of greateft Juftice. Write, write, Rynaldo,
All's Well 111.iv.29
F2: To fill the mouth of the deepe Defiance up,
F3: To fill the mouth of deep Defiance up,
I Henry IV Iii.ii.ii6
F2: Sworne to us in yonger enterprize.
F3: Sworn to us in your younger enterprize.
I Henry IV v.i.71
F2: Of Edward King, third of that Defcent.
F3: Of Edward King, the third of that Defcent.
I Henry VI 11. v. 66
F2: Tends to Gods glory, and Countries weale.
F3: Tends to Gods glory, and my Coun treys weal.
I Henry VI v.i.27
F2: Which by my Lord Winchefler we meane
F3: Which by my Lord of Winchester we mean
I Henry VI v.i.39
F2: My Lord of Warwick, heare but one word,
F3: My Lord of Warwick, hear me but one word,
J Henry F/i.i.170
F2: And all trouble thou haft turn'd me to.?
F3: And all the trouble thou haft turn'd me to?
3 Henry VI v. v. 16
276 CHANGES IN THE THIRD FOLIO
F2: Thefe lazy knaves? Y'have made fine hand fellowes?
F3: Thefe lazy knaves? Y'have made a fine hand fellows?
Henry VIII v.iv.66
F2: Till all thefe mifchiefes be returned againe,
F3: Till all thefe mifchiefs be return'd again,
Titus ni.i.274
F2: As that vail-fhore: wafhd with the fartheft
F3: As that vaft-fhore: wafh'd with the fartheft Sea,
Romeo 11.ii.83
F2: And fmileft upon the ftroke that murders me.
F3: And fmilft, upon the ftroak that murders me.
Romeo 111.iii.23
F2: Then mighteft thou fpeake,
Then mighteft thou teare thy hayre,
F3: Then might'ft thou fpeak,
Then might'ft thou tear thy hair,
Romeo iii.iii.68
F2: Then thefe poore compounds that thou mayeft not fell.
F3: Then thefe poor compounds that thou maift not fell.
Romeo v.i.82
F2: Your Face, my Thane, is as booke, where men
F3: Your Face, my Thane is as a book, where men
Macbeth i.v.59
F2: Fye on't? Oh fie, fie, tis an unweeded Garden
F3: Fie on't? Oh fie, 'tis an unweeded Garden
Hamlet i.ii.135
F2: She that could thinke, and nev'r difclofe her mind,
F3: She that could think, and ne're difclofe her mind,
Othello ii.i.155
F2: Othe. ...He make thee an example.
Def. What is the matter ("Deere?)
F3: Def. What's the matter (Dear.?)
Othello 11.iii.243
B. Prose is arranged as verse.
F2: Rofa. If we choofe by homes, your felfe come not |
neare. Finely put on indeed.
F3: Rofa. If we choofe by horns, your felf come not near.
Finely put on indeed.
Labour's iv.i. 108-9
RESTORING: METER: B 277
F2: This lanthorne doth the horned Moone pre-|fent: My
felfe, the man i'th Moone doth feeme to be.
F3: This lanthorne doth the horned Moon prefent:
My felf, the man i'th Moon doth feem to be.
Dream v. i. 237-8
IV. Grammar
A. Inconsistencies are corrected.
I. Tense and/or mood of verbs.
F2: You chid at him, offending twice as much.
F3: You chide at him, offending twice as much.
Labour's 1v.iii.128
F2 : We cannot croffe the caufe why we are borne :
F3 : We cannot croffe the caufe why we were born :
Labour s 1v.iii.214
F2: And our oppreffion had made up this league:
F3: And our oppreffion hath made up this league:
John III. i. 106
F2: Who's there, my Lord Mneas? by my troth I | know you
not: what newes with you fo early?
F3: ...by my troth I | knew you not:...
Troiliis 1v.ii.46
F2: Enter Emperour and Empreffe, and her two fonfies, the \
Emperour brings the Arrowes in his ha^id \ that Titus fhoot at him.
F3: ...that Titus /hot at him.
Titus iv.iv.i s.d.
F2: Have thrice diflurb'd the quiet of our ftreets,
And make Verojia's ancient Citizens
F3: And made Verona's ancient Citizens
Romeo i.i.90
F2: That thou expects not, nor I looke not for.
F3: That thou expects not, nor I lookt not for.
Romeo iii.v.iio
F2: Death that hath fuck the honey of thy breath,
F3: Death that hath fuckt the honey of thy breath,
Romeo v.iii.g2
F2: That darkeneffe does the face of Earth intombe,
When living Light fhall kiffe it?
F3: When living Light Ihould kifs it.?
Macbeth ii.iv.io
278 CHANGES IN THE THIRD FOLIO
F2: Why the cry goes, that you marry her.
F3: Why, the cry goes, that you fhall marry her.
Othello iv.i.123
F2: Forget that rareft Treafure of your Cheeke,
...and forgot
Your labourfome and dainty Trimmes,
F3: ...and forget
Cymbeline n1.iv.162
2. Number of verbs.
F2: he ha's a FamiUar un-|der his Tongue, he fpeake not a
Gods name.
F3: ...he fpeaks not...
F2: Exeunt.
F3: Exit.
F2: The fruite fhe goe with
I pray for heartily,
F3: The fruit fhe goes with
2 Henry VI 1v.vii.98
Richard III ill. v. 109
Henry VIII v.i.20
F2: Thefe happy maskes that kiffe faire Ladies browes.
Being blacke, puts us in mind they hide the faire:
F3: Being black, put us in mind they hide the fair:
Romeo i.i.229
F2: The Wine fhee drinke is | made of Grapes.
F3: The Wine fhe drinks is | made of Grapes.
Othello II. i. 247
F2: Fare thee well Dame, what ere become of mee,
F3: Fare thee well. Dame, what ere becomes of me,
Antony iv.iv.29
3. Person (including changes from one form of the second person
to another).
F2: For quoth the King, an Angell fhall thou fee:
F3: For, quoth the King, an Angell fhalt thou fee:
Labour s v.ii.103
F2: Well, thou fhall fee,
F3: Well, thou fhalt fee,
Merchant 11. v. i
RESTORING: GRAMMAR: A 279
F2: and I had thee in place where | thou fhould know it.
F3: and I had thee in place ] where, thou fhouldft know it.
Shrew 1v.iii.147
F2: Why, that you art my daughter?
F3: Why, that you are my daughter?
AlVs Well i.iii.144
F2: are | not thou horrible afear'd?
F3: art I not thou horrible afear'd?
I Henry IV 11.iv.355
F2: Muil helpe you more, then you art hurt by me.
F3: Mufl help you more, then you are hurt by me.
J Henry VI 1v.vi.76
F2: Hadft thou bin kill'd, when firft thou did prefume,
F3: Hadft thou bin kill'd when firft thou didft prefume,
J Henry VI v.vi.35
F2: That thou fhall doe no murther,
F3: That thou (halt do no Murther,
Richard III i.iv.192
F2: Nor fhalt not while I have a ftumpe.
F3: Nor fhall not while I have a ftump.
Henry VIII i.iii.49
F2: Thou are too breefe, I will the fecond time,
F3: Thou art too brief, I will the fecond time,
Troilus iv.v.237
F2: You fhalt not goe: one cannot fpeake a word,
F3: You fhall not go: one cannot fpeak a word,
Troilus v.ii.99
F2: Thou are not conquer'd:
F3: Thou art not conquer'd,
Romeo v.iii.94
F2: What are thou?
F3: What art thou.?
Lear i.iv.18
4. Number of nouns and pronouns.
F2: a whole booke full of thefe quondam carpet-mon- |gers,
whofe name yet runne fmoothly in the even rode | of a blanke verfe,
F3: ...whofe names yet run fmoothly...
Much Ado v.ii.29
280 CHANGES IN THE THIRD FOLIO
F2: with enter-change of | Gift, Letters, loving Embaflies,
F3: with enter-change of | Gifts, Letters, loving Embaffies,
Winter's Tale i.i.26
F2: our plot is as good a plot as ever | was laid; our Friend
true and conftant:
F3: ...our Friends true and conftant:
/ Henry I V 11.iii.15
F2: Cut both the Villaines throat,
F3: Cut both the Villains throats,
2 Henry VI iv.i.20
F2: My word are dull,
F3: My words are dull,
F2: Clockes strikes.
F3: Clock Jlrikes.
Richard III 1v.iv.124
Richard III v.iii.275
F2: Grace, not fo friend, honour and Lordfhip are my | title:
F3: Grace, not fo friend. Honour and Lordfhip are my | titles:
Troilus iii.i.i6
F2: The former Agent, if they did complaine,
What could the Belly anfwer?
F3: The former Agents, if they did complain,
Coriolaniis i.i.121
F2: And the Nobility of Rome are his:
The Senator and patricians love him too:
F3: The Senators and Patricians love him too:
Coriolaniis 1v.vii.30
F2: To backe thy quarrell what fo ere they ba.
F3: To back thy quarrels whatfoe're they be.
Titus 11.iii.54
F2: for the Gentlewomen is yong:
F3: for I the Gentlewoman is young,
Romeo 11.iv.162
F2: And after we will both our judgement joyne,
F3: And after we will both our judgements joyn,
Hamlet 111.ii.84
F2: Hor. [to Fortinbras] What is it ye would fee;
F3: Hor. What is it you would fee;
Hamlet v.ii.354
RESTORING: GRAMMAR: A 281
F2: He faies my Lord, your Daughters is not well.
F3: He fayes, my Lord, your Daughter is not well.
Lear i.iv.50
F2: Thofe Pelicane Daughter.
F3: Thofe Pelican Daughters.
Lear 111.iv.74
5. Case.
F2: On whofe | fide? the King:
F3: On whofe | fide? the Kings:
Labour's iv.i.71
F2: For vertues ofhce never breakes men troth.
F3: For vertues office never breaks men's troth.
Labour's v.ii.350
F2: From Richards Night, to Bullingbrooke faire Day,
F3: From Richards Night, to BuUingbrooks fair Day,
Richard II 111.ii.218
F2: Oh Tamora, thou bear'ft a woman face.
F3: O Tamora thou bear'ft a womans face.
Titus 11.iii.136
F2: This matter of marrying his King Daughter,
F3: This matter of marrying his Kings Daughter,
Cymbeline i.iv.12
6. Adverbial ending.
F2: Worthy fpoken Mecenas.
F3: Worthily fpoken, Mecenas.
Antony ii.ii.io6
B. Omitted words necessary to completeness of sentence structure
are inserted.
F2: For count of this, the Count a Foole I know it,
F3: For count of this, the Count's a Foole I know it,
All's Well 1v.iii.213
F2: Give my Horfe you | Rogues: give me my Horfe and be
hang'd.
F3: Give me my Horfe | you Rogues:...
/ Henry /Fii.ii.28
F2: There's no more faith in thee then a ftu'de Prune;
F3: There's no more faith in thee then in a ftu'de | Prune;
/ Henry IV 111.iii.112
282 CHANGES IN THE THIRD FOLIO
F2: Thou art unjull man in faying fo;
F3: Thou art an unjuft man in faying fo;
/ Henry IV iii.iii.129
F2: For he hath heard our Confederacie,
F3: For he hath heard of our Confederacie,
1 Henry IV 1v.iv.38
F2: as I am true | Knight
F3: as I am a true | Knight
2 Henry IV i.ii.41
F2: Heere lack's but you mother for fay, Amen.
F3: Here lacks but your Mother for to fay. Amen.
Titus 1v.ii.44
F2: in fhape no big-|ger then Agat-flone,
F3 : in fhape no big- 1 ger then an Agat-flone,
Romeo i.iv.55
F2: Should patch a Wall, expell the Winters flaw.
F3: Should patch a Wall, t'expell the Winter's flaw.
Hamlet v.i.210
F2: W^ho ist can fay I am at worft?
F3: Who is't can fay I am at the worft?
Lear iv.i.26
F2: Pom. ...And I have heard Apollodorus carried —
Eno. No more that: he did fo.
F3: Eno. No more of that: he did fo.
Antony ii.vi.69
F2: I have heard the Ptolemies Pyra- 1 mifis are very goodly
things: without contradiction | have heard that.
F3: ...without contradiction I | have heard that.
Antony 11.vii.34
V. Style
A. The current is substituted for an obsolescent, archaic, or in-
elegant word or form.
Befhrow to Befhrew {Merchant 111.ii.14)
Bretheren to Brethren {Titus i.i.89, 104, 123, 160)
Difgeft to Digeft {Henry VIII n1.ii.53)
egal to equal {Merchant 111.iv.13)
Froward to Forward {Hamlet i.iii.8)
hoared-headed to hoary-headed {Dream 11. i. 107)
ignomy to ignominy (/ Henry IV v.iv.ioo)
RESTORING: STYLE: A 283
it to its, it's {Hamlet i.ii.216, v.i.215)
jealious to jealous {Richard III i.i.92)
moneth(s to month (s, monthe(s {Labour's v.ii.662, / Henry IV
11.iv.417)
of clock to a clock {Merchant ii.iv.8)
perfit to perfect {Richard III 111.vii.90)
propofe [noun] to purpofe {Coriolanus i.vi.50)
race [verb] to raze {Titus i.i.451)
fometime to fometimes {Dream 111.ii.435)
flrooken to ftrucken {Romeo i.i.230)
threatingly to threatningly {All's Well ii.iii.79)
threats /o threatens {2 Henry F/iv.i.107)
tongues to tonges {Dream iv.i.27)
B. Synonyms, equivalent idioms, and alternate forms of the same
word are substituted.
F2: And dares him to fet forwards to the fight.
F3: And dares him to fet forward to the fight.
Richard II i.iii.109
[See also 2 Henry IV i.i.44.]
F2: But in the end (to flop mine Eare indeed)
F3: But in the end (to flop my Ear indeed)
2 Henry I V i.i.79
F2: To approve my youth | farther, I will not.-
F3: To approve my | youth further, I will not.
2 Henry IV i.ii.179
F2: (as I it is like mofl if their meanes are not better)
F3: (as it is like mofl if their meanes are no better)
Hamlet 11.ii.345
F2: Mum, mum, he that keepes nor cruft, not crum,
F3: Mum, mum, he that keeps nor cruft, nor crum,
Lear i.iv. 195-6
F2: Chriften'd, and Heathen
F3: Chriftian, and Heathen
Othello i.i.30
C. The order of words is altered.
F2: The Bay-trees in our Countrey all are wither'd,
F3: The Bay-trees in our Countrey are all wither'd,
Richard II ii.iv.8
F2: It is gooden?
F3: Is it gooden?
Romeo 11.iv.107
284 CHANGES IN THE THIRD FOLIO
F2: O thou untaught, what manners in is this,
F3: O thou untaught, what manners is in this,
Romeo v.iii.213
F2: The Ayre bites fhrew'dly: is it very cold?
F3: The aire bites fhrew'dly: it is very cold?
Hamlet i.iv.i
F2: It is a cullome?
F3: Is it a cuflome?
Hamlet i.iv.12
D. One Latin phrase is corrected.
F2: Integer vitx Jcelerijque piiriis, non egit mauri jaculis nee
ar- \cii.
F3: ...non eget Mauri jaculis...
Titus 1v.ii.21
E. The spelling of proper names is altered.
1. Historical and mythological personages, etc.
Architophel to Achitophel (2 Henry /Fl.ii.33)
Titin to Titan {Cymheline ill. iv. 162)
2. Geographical names.
Nemian to Nemean {Hamlet i.iv.83)
3. Characters in the plays.
Baffiano to Baffanio {Merchant 111.ii.149, 246)
Burguny to Burgundy {Lear i.i.247)
Cibero to Cicero {Caesar 1v.iii.177)
Defdemon to Defdemona {Othello v.ii.25, 207)
Livinia to Lavinia {Titus iv.i.52)
Octavi to Octavia {Antony 111.ii.23 s.d.) ~
Octauus to Octavius {Caesar 111.ii.272)
Semprovius to Sempronius {Timon iii.iv.113)
Volumna to Volumnia {Coriolanus v.iv.51)
INTELLIGENT AND JUDICIOUS EMENDATIONS SUPERSEDED
BY MORE AUTHORITATIVE READINGS FROM AN EARLIER
TEXT OR BY BETTER APPROVED CONJECTURES
I. Thought
A. Inconsistencies of fact and circumstance are corrected.
F2: Hence brother, lacky, ignomy, and fhame
Perfue thy life
SUPERSEDED: THOUGHT: A 285
F3: Hence brothel, lacky, ignominy, and Ihame
ME: Hence, broker-lackey! ignomy and shame (Q Fi Johnson)
Troilus y.x.T,7,
F2: For whom, our heavy happee had their beginning:
F3: From whom, our heavy haps had their beginning:
ME: By whom our heavy haps had their beginning: (Qq)
Tittis v.iii.202
F2: How dyed my Strata.
F3: How dyed my Lord, Strata?
ME: How died my master, Strato? (Fi)
Caesar v. v. 64
B. Corrupt readings which take, exactly or approximately, the
form of an existing word or words are corrected.
F2: and two men ride of horfe, | one mufl ride behind,
F3: and two men rides an horfe | one muft ride behind,
ME: an two men ride of a horse, one must ride behind. (Q Fi)
Much Ado III. v. 3 5
F2: And (orrow, wagge, crie hem, when he fhould grone,
F3: And hallow, wag, cry hem, when he fhould groan,
ME : Bid sorrow wag, cry 'hem !' when he should groan, (Capell)
Much Ado v.i.i6
F2 : ftrike more dead
Then cammon fleepe; of all thefe, fine the fenfe.
F3: Then common fleep; of all thefe find the fenfe.
ME: Than common sleep of all these five the sense. (Theobald)
Dream iv.i.79
F2: to be reveng'd for this villaine.
F3: to be reveng'd on this villain.
ME: to be revenged for this villany. (Fi)
Shrew v.i.122
F2: Let not your hate incounter with my love
For loving where you doe; but if your felfe,...
Did ever, in fo true a flame of living,
Wifh chaftly, and love deerely,
F3 : Did ever, in fo true a flame of loving,
ME: Did ever in so true a flame of liking (Fi)
All's Well i.iii.202
F2: Odours, pregnant, and vouchfafed: He get 'em | all three
already.
F3: ...rie get 'em | all three ready.
ME: ...I'll get 'em all three all ready. (Malone)
Twelfth Night iii.i.88
286 CHANGES IN THE THIRD FOLIO
F2: Vertue is of fo little regard in thefe Co ftor- [mongers,
that true valor is turn'd Beare-heard.
F3: ...in thefe Coftor- 1 mongers dayes, that...
ME: ...in these costermonger (Capell) times (Q)
2 Henry /F i.ii. 159-60
F2: a I good quarrell to draw emulations, factions, and bleed
to I death upon:
F3: a I good quarrel to draw emulatious factions,...
ME: a good quarrel to draw emulous factions... (Q)
Troilus 11.iii.69
F2: As many farewels as be flars in heaven,...
He fumbles up a loofe adiew;
F3: He fumbles up in a loofe adiew:
ME: He fumbles up into a loose adieu, (Q FO
Troilus 1v.iv.45
F2: Is not young Diomed with Calcas daughter?
F3: Is't not young Diomed with Calcas daughter?
ME: Is not yond Diomed with Calchas' daughter? (Q)
Troilus IV.V.13
F2: That ever eafe did heare to fuch effect.
F3: That ever ears did hear to fuch effect.
ME: That ever ear did hear to such effect; (Qq Fi)
Titus ii.iii.iii
F2: There was very little honour fhew'd in.
F3: There was very little honour fhew'd in that.
ME: there was very little honour showed in't. (Fi)
Timon iii.ii.i8
F2: Has almofl charm'd me from my Profeffion,
F3: H'as almoft charm'd me from my Profeffion,
ME: He has almost charmed me from my profession, (Steev-
ens)
Timon iv.iii.449
F2 : We ore-wrought on the way :
F3: We o're-took on the way:
ME: We o'er-raught on the way; (Qq)
Hamlet iii.i.17
F2: Mumbling of wicked charmes, conjuring the Moone
To ftand aufpicious Miftris.
F3: To ftand his aufpicious Miftrefs.
ME: To stand's auspicious mistress. (Qi)
Lear ii.i.40
SUPERSEDED: THOUGHT: B
287
F2: Falfe of heart, light of eare, bloody hand:
F3: Falfe of heart, light of ear, bloudy handed.
ME: false of heart, light of ear, bloody of hand; (Qq Fi)
Lear 111.iv.91
F2: Bad is the Trade that muft play to foole forrow,
F3: Bad is the Trade that muft play the fool to forrow,
ME: Bad is the trade that must play fool to sorrow, (Fi)
Lear iv.i.39
F2: Enter a Centery, and his Company, Enobarbus followes.
F3 : Enter a Century, and his Company, Enobarbus followes.
ME: Sentinels at their post. (Dyce)
Antony iv.ix.i s.d.
F2: the flame oth' Taper
Bowes toward her, and would under-peepe her lids.
To fee th'inclofed Lights, now Canopied
Vnder the windowes. White and Azure lac'd
With Blew of heavens owne tinct, But my defigne.
To note the Chamber, I will write all downe,
F3: With Blew of heavens own tinct, but my deligne's
ME: With blue of heaven's own tinct. But my design.
To note the chamber: I will write all down: (Theobald)
Cymbeline 11.ii.23
C. In obviously corrupt passages, a more intelligible reading is
inserted or the approved sense is approximately recovered.
F2: e'thftate
F3: o'thftate
ME: i'th state (FO
Tempest i.ii.84
F2: you but fo I am | apt to doe my felfe wrong:
F3: yet but fo I am | apt to do my felf wrong:
ME: Yea, but so I am apt to do myself wrong; (Q Fi)
Much Ado ii.i.182
F2: I cannot bid you daughter live,
F3: I cannot bid your daughter live,
ME: I cannot bid you bid my daughter live; (Q Fi)
Much Ado v.i.265
F2: They doe, they doe; and are apparel'd thus.
Like Mufcovites , or Ruffians, or I geffe.
Their purpofe is to parlee, to court, and dance,
F3: Like Mufcovites, or Ruffians, and I guefs,
ME: Like Muscovites or Russians, as I guess. (Qq Fi)
Labour's v.ii.121
288 CHANGES IN THE THIRD FOLIO
F2: what the newes?
F3 : what newes?
ME: what's the news? (Fi)
As You Like It i.ii.88
F2: And with a kind of vmber fmitch my face,
F3: And with a kind of umber fmutch my face,
ME: And with a kind of umber smirch my face; (Fi)
As You Like It i.iii.io8
F2: Why what a caudie deale of curtefie,
F3: Why what a gaudie deal of curtefie,
ME: Why, what a candy deal of courtesy (Qq)
I Henry IV i.iii.251
F2: Looke back, defend three, here are Enemies.
F3: Look back, defend there, here are enemies.
ME: Look back, defend thee; here are enemies. (Qq Fi)
Richard III iii.v.19
F2: That we adiourne this Court further day;
F3: That we adjourn this Court to a further day;
ME: That we adjourn this court till further day: (Fi)
Henry VIII il.iv.232
F2: And goe to duft, that is a little gilt.
More laud, then gilt oredufted.
F3: More laud in gilt oredufted.
ME: And give to dust that is a little gilt
More laud than gilt o'er-dusted. (Theobald)
Troilus 111.iii.179
[Some copies of F2 read And doe to duft, but not, apparently, that from which F3
was set up.]
F2: The angry fpot doth hlow on Cxjars brow,
F3: The angry fpot doth blow on Cdejars brow,
ME: The angry spot doth glow on Caesar's brow, (Fi)
Caesar i.ii.183
F2: you marre all with ftat-|ting.
F3: you marre all with ftar-|ting.
ME: you mar all with this starting. (Fi)
Macbeth v. i. 42-3
F2: whilft they beftill'd
Almoft to lelly with the Act of feare,
F3: whiia they be ftill'd
ME: whilst they, distill'd (Qq)
Hamlet i.ii.204
SUPERSEDED: THOUGHT: C ' 289
F2: Have I of Ladies most deject and wretched,
F3: I am of Ladies most deject and wretched,
ME: And I, of ladies most deject and wretched, (Qq)
Hamlet iii.i.155
F2: And as my Love is fiz, my feare is fo.
F3: And as my love is fixt, my fear is fo.
ME: And as my love is sized, my fear is so. (Qq Fi)
Hamlet 111.ii.165
F2: Laertes you fhall them:
F3: Laertes you fhall read them:
ME: Laertes, you shall hear them. (Qq Fi)
Hamlet 1v.vii.41
F2: Blanket my loynes, elfe all my haires in knots,
F3: Blanket my loins, put all my hairs in knots,
ME: Blanket my loins, elf all my hair in knots, (Fi)
Lear ii.iii.io
F2: Lacke blood to thinke on't, and fiefh youth revolt,
F3: Lack bloud to think on't, and flefh youth to revolt,
ME: Lack blood to think on 't, and flush youth revolt: (Fi)
Antony i.iv.52
F2: You ribaudred Nagge of Egypt,...
Hoifts Sailes, and flyes.
F3: Your ribaudred Nagge of Mgypt,
ME: Yon ribaudred nag of Egypt, (Fi)
Antony iii.x.io
II. Action
A. Stage-directions are emended.
F2: Enter a gentle AJlranger.
F3: Enter a Gentleman a firanger.
ME: Enter a gentle Astringer. (Fi)
Airs Well v.i.6
F2 : Enter Gaunt, ficke with Yorke.
F3: Enter fick Gaunt, with York.
ME: Enter John of Gaunt, sick, with the Duke of York.
Richard II ii.i.i
B. Speeches are redistributed.
Much Ado ii.i.87-8, 90, 92, 94, assigned to Mar[garet\ in F2, are
transferred to Mas{k (see p. 56).
290 CHANGES IN THE THIRD FOLIO
J Henry VI v.vii.30, assigned to Clar[ence] in F2, is transferred
to King; modern editors, following the Qq, give it to Queen Eliza-
beth.
Richard III i.iii.309, assigned to Mar[garet] in F2, is transferred
to Der. (apparently a mistake for Dorfet); modern editors, following
the Qq, give it to Queen Elizabeth.
III. Meter: Verses are lengthened or shortened to improve
their rhythm.
F2: Their purpofe is to parlee, to court, and dance,
F3: Their purpofe is to parlee, court, and dance,
ME: Their purpose is to parle, to court and dance; (Capell)
Labour's v.ii.122
F2: Who is, if every Owner were plac'd,
F3: Who is, if every Owner were right plac'd,
ME: Who is, if every owner were well plac'd, (Qq)
I Henry IV iv.iii.g4
F2: And chid his Trewant youth with a Grace,
F3: And chid his Trewant youth fo with a Grace,
ME: And chid his truant youth with such a grace (Qq Fi)
/ Henry IV v.ii.63
F2: Since thou denied' ft the gentle King to fpeake.
F3: Since thou deni'dft the gentle King to fpeak.
ME: Since thou deny'st the gentle king to speak. (Qq)
5 Henry VI 11.ii.172
F2: For I have murthered where I fhould not kill.
F3: For I have murther'd where I fhould not kill.
ME: For I have murder'd where I should not kill. (Qq)
J Henry VI ii.v.122
F2: For I heard, that fhe was there in place.
F3: For fo I heard, that fhe was there in place.
ME: For I have heard that she was there in place. (Fi)
5 Henry VI iv.i.103
F2: And will fhe abafe her eyes on me,
F3: And will fhe thus abafe her eyes on me,
ME: And will she yet abase her eyes on me, (Qq Fi)
Richard III i.ii.246
F2: Who earneft in the fervice of God,
F3: Who earneft in the fervice of th'high God,
ME: Who, earnest in the service of my God, (Qq Fi)
Richard III iii.vii.io6
SUPERSEDED: METER 291
F2: And no leffe in a fenfe as ftrong
As that which caufeth it. How can I moderate it?
F3: And no lefs in a fenfe as ftrong, as that
Which caufeth it. How can I mod'rate it.?
ME: And violenteth in a sense as strong
As that which causeth it: how can I moderate it? (Q)
Troiliis iv.iv.4-5
F2: Do you not fee I am out of breath.?
F3: Do you not fee how I am out of breath?
ME: Do you not see that I am out of breath? (Qq Fi)
Romeo 11. v. 30
F2: Will be fome danger, which to prevent
F3: Will be fome danger, which how to prevent,
ME: Will be some danger; which for to prevent, (Qq)
Hamlet iii.i.167
F2: You'l be fham'd for ever.
F3: You'll be afham'd for ever.
ME: You will be shamed for ever. (Qq)
Othello 1i.iii.155
F2: That the Sence askes at thee,
Would thou had' ft never bin borne.
F3: Would thad'ft never been born.
ME: Would thou hadst ne'er been born. (Qq)
Othello 1v.ii.70
IV. Grammar
A. Inconsistencies are corrected.
I. Number of verbs.
F2: and this newes...
Being ficke, have in fome meafure, made me well.
F3: Being fick, hath in fome meafure made me well.
ME: and these news,...
Being sick, have in some measure made me well : (Q)
2 Henry I V i.i.139
F2: where th'other Inftruments...did minifter
Vnto the appetite; and affection common
Of the whole body, the Belly anfwer.
F3: Of the whole body; the Belly anfwers.
ME: Of the whole body. The belly answer'd,^ — ^(Fi)
Coriolanus i.i.103
292 CHANGES IN THE THIRD FOLIO
F2: Titus two Sonnes fpeakes.
F3: Titus two Jons /peak.
Titus 1.1.358
[ME mark the following speech Qiiin., Mart.]
F2: When he have shufflel'd off this mortall coile,
F3: When he hath shuffled off this mortall coyle,
ME: When we have shuffled off this mortal coil, (Qq Fi)
Hamlet iii.i.67
2. Person.
F2: Worke thou the way, and that fhalt execute.
F3: Work thou the way, and that fhall execute.
ME: Work thou the way, and thou shalt execute. (Qq)
J Henry VI v.vii.25
F2: Then fay at once, what is it thou requefts.
F3: Then fay at once, what is it thou requeft'ft.
ME: Then say at once, what is it thou demand'ft. (Qq)
Richard III ii.i.98
F2: If you wert my foole Nunckle,
F3: If you were my fool, Nuncle,
ME: If thou wert my fool, nuncle, (Qq Fi)
Lear i.v.38
3. Number of nouns and pronouns.
F2: Thefe ruin'd Pillet out of pitty, taken
F3: This ruin'd Pillet, out of Pitie, taken
ME: These ruin'd pillars, out of pity taken (Fi)
Henry VIII 111.ii.382
F2: Hath borne this Faculties fo meeke: hath bin
F3: Hath born this Faculty fo meek.- hath been
ME: Hath borne his faculties so meek, hath been (Fi)
Macbeth i.vii.17
4. Case.
F2: As my yong Miftris Dog,
F3: As my young Miftris's Dog,
Othello 11.iii.47
F2: It is Posthumus hand, I know't.
F3: It is Posthumus* s hand, I know't.
Cymbeline in. v. 109
SUPERSEDED: GRAMMAR: B 293
B. Omitted words thought necessary to completeness of sentence
structure are inserted.
F2: Difplace our heads, where (thanks the gods) they grow
F3: Difplace our heads, where (thanks to th' gods) they grow
ME: Displace our heads, where — thank the gods! — they grow
(Steevens)
Cymbeline iv.ii. 123
V. Style
A. The current is substituted for an obsolescent, archaic, or in-
elegant word or form.
a to have [ME: ha' (Dyce)] {Labour's v.ii.17)
a to of [ME: o'] {Twelfth Night 11. v. 104, Romeo i.iv.69)
Attendure to Attaindure [ME: attainder (Rowe)] {Henry VIII
ii.i.41)
Berrord to Bearherd [ME: bear-ward (Knight)] {Much Ado ii.i.34)
Orphants /o Orphan's [ME: orphans' (Warburton)] {Henry VIII
ni.ii.399)
stroke /o ftrook [ME:{lruck (F4)] {Twelfth Night iv.i.34)
fwoon'd /ofwoun'd [ME: swoon (F4)] (2He«r3' / Fiv.v.234) ;fwoond
to fwound [ME: swoon (Pope)] {Timon 1v.iii.365)
wroth to wrath [ME: worth (Q)] {Troilus Ii.iii.167)
B. One Latin phrase is corrected.
F2 : A ctus Secunda.
F3: Actus Sec undus.
Labour s ii.i.i
C. Attempts are made to correct the spelling of proper names.
1. Historical and mythological personages, etc.
Galien to Gallen {Merry Wives 11.iii.26)
lephah to Jepthah (3 Henry VI v.i.91)
2. Geographical names.
Byrnan to Byrnam {Macbeth v.ii.5)
Corialus to Coriolus {Coriolanus i.iv.13)
Reinifh-wine to Rennifh-wine {Merchant i.ii.85)
3. Characters in the plays.
Bollingbrooke to Bullingbrook (2 Henry VI i.ii.76)
Defdemon to Defdemona {Othello v.ii.284)
Filorio to Florio {Cymbeline i.i.97)
Gloufler to Glofter {Richard III 11.iv.12)
294 CHANGES IN THE THIRD FOLIO
lobbe to Job [ME: Gobbo (Q)] {Merchant ii.ii.3, 4, 7)
Le Boune to Le Boun {Merchant i.ii.49)
Mamillus to Mamilius {Winter s Tale D. P. 3)
Marcus Caius Coriolanus to Martius {Coriolanus i.ix.65, 67)
Pointz to Poinz {Merry Wives 1ii.ii.63), Poynes (/ Henry IV
i.ii.187 s.d.), Poyns {2 Henry IV ii.ii.i, 31, D. P. 27)
Poynes to Poyns (7 Henry IV ii.ii.i)
INTELLIGIBLE CHANGES NOT ADOPTED BY MOST MODERN
EDITORS
I. Thought
A. Fancied corruptions are corrected.
F2: fet with I pearles, downe fleeves, fide fleeves, and skirts,
F3: fet with I pearls down- fleeves, fide- fleeves, and skirts,
Much Ado 111.iv.19
[We understand the editor of F3 to have read this passage in substantially the same
sense as the modern editors who print it pearls down sleeves, etc.]
F2: O be thou damn'd, inexecrable dogge,
F3: O be thou damn'd inexorable dog,
Merchant iv.i.128
F2: perchance | winde up my watch, or play with my fome
rich lewell:
F3: ...or play with feme rich Jewell:
Twelfth Night ii.v.56
F2: Maifter Gozi're, (hall I entreate you with me to | dinner?
F3: Mafler Gower, I fhall entreat you with me to [ dinner.
2 Henry IV ii.i.175-6
B. In undoubtedly corrupt passages, mistaken corrections are
made.
F2: It carries it remuneration:
F3: It carries it's remuneration:
Labour's iii.i.133
F2: Sola, did you fee M. Lorenzo, and M. Lorenza, fola, fola.
F3: Sola, did you fee M. Lorenzo, and Mrs. Lorenza, fola, fola.
Merchant v. i. 4 1-2
[See p. 55.]
F2: this is a guift
Very gratefull, I am fure of it, to expreffe
The like kindneffe my felfe, that have beene
More kindely beholding to you then any:
INTELLIGIBLE: THOUGHT: B 295
Freely give unto this yong Scholler, that hath
Beene long ftudying at Rhemes,...
His name is Cambio: pray accept his feruice.
F3: Free leave give unto this young Scholler, that hath
Shrew ii.i.78
F2: Let us revenge this with our Pikes, ere we become Raks. |
For the Gods know, I fpeake this in hunger for Bread,
F3: Let us revenge this with our Pikes, ere we become
racks. | ...
Coriolayius i.i.22
[ME: rakes.]
F2: And in that Pafle let their vild'd Heads be bakte,
F3: And in that Paft let their wild Heads be bak'd.
Titus v.ii.2oi
F2: For Saints have hands, that Pilgrimes hand, doe touch,
F3: For Saints have hands, the Pilgrims hand, do touch,
Romeo i.v.97
IL Action
A. Speeches are redistributed.
Antony v.i.30, 34, assigned in F2 to Mec[3enas], who has not come
on according to any previous stage-direction in the scene, are trans-
ferred to Men[as], who has entered at the beginning.
HL Meter: Verses are shortened to improve their rhythm.
F2: Come challenge me, challenge me by thefe deferts,
F3: Come challenge me, challenge by thefe deferts.
Labour's v.ii.793
F2: And as I am an honeft Pucke,
F3: And As I am honeft Puck,
Dream v.i.420
F2: Hee is all the Mothers, from the top to toe.
F3: He is all the Mothers, from top to toe.
Richard III iii.i.156
F2: I never had honeft man about me, I all,
F3: I nev'r had honeft man about me, I all,
Timon 1v.iii.477
F2: Produce the bodies, be they alive or dead i
F3: Produce the bodies, be they live or dead.
Lear v.iii.230
296 CHANGES IN THE THIRD FOLIO
IV. Grammar
A. Supposed inconsistencies are corrected.
I. Number and/or mood of verbs.
F2: All his fucceffors (gone before him) hath don't:
F3: All his Succeffors (gone before him) have don't:
Merry Wives i.i.12
F2: Two of both kindes makes up foure,
F3: Two of both kindes make up four.
Dream 111.ii.438
F2: And if it ftand as you your felfe ftill doe,
Within the eye of honour,
F3: And if it ftands as you your felf ilill doe,
Merchant i.i.136
F2: to like as much of this Play, as pleafe | you:
F3: to like as much of this Play, as | pleafes you:
As You Like It Epil. 12
F2: Here come the Lords of RoJJe and Willoughby,
F3: Here comes the Lords of Rajfe and Willoughby ,
Richard II ii.iii.57
[See Abbott: Shakespearian Grammar, §335.]
F2: But ftay, heere come the Gardiners,
F3: But ftay, heere comes the Gardiners,
Richard II Ii1.iv.24
F2: Now fhine it like a Commet of Revenge,
F3: Now fhines it like a Comet of Revenge,
/ Henry VI iii.ii.31
F2: Her fight did ravifh, but her grace in Speech,
Her words yclad with wifedomes Majefly,
Makes me from Wondring, fall to Weeping joyes,
F3: Make me from wondring, fall to weeping Joyes,
2 Henry VI i.i.34
F2: The Armie of the Queene meane to befiege us.
F3: The Army of the Queen means to befiege us.
5 Henry VI l.ii.64
F2: This is his Tent, and fee where ftand his Guard:
F3: This is his Tent, and fee where ftands his Guard:
J Henry VI 1v.iii.23
INTELLIGIBLE: GRAMMAR: A 297
F2: Why our Battalia trebbles that account:
F3: Why our Battalia trebble that account:
Richard III v.iii.ii
F2: For goodneffe dare not check thee:
F3: For goodnefs dares not check thee:
Macbeth 1v.iii.33
F2: If any wretch have put this in your head,
F3: If any wretch hath put this in your head,
Othello 1v.ii.15
2. Number of nouns and pronouns.
F2: thefe ill newes
F3: this ill news
Much Ado ii.i.152
[See also 2 Henry IV i.i.27, / Henry VI v.ii.i.]
3. Case.
F2: 'tis fome | policy, to have one fhew worfe then the Kings
and his | company.
F3: ...then the King and his | company.
Labour's v.ii.511
F2: All fchooledaies friendfhip, child- hood innocence?
F3: All fchool-dayes friendfhip, child-hoods innocence.''
Dream 111.ii.202
F2: the bo- 1 dies fhall be dragg'd at my horfe heeles,
F3: the bo- 1 dies fhall be dragg'd at my horfes heels,
2 Henry VI 1v.iii.12
B. W^ords considered necessary to completeness of sentence struc-
ture are inserted.
F2: For what I will, I will, and there an end:
F3: For what I will, I will, and there's an end:
Gentlemen i.iii.65
[See also Shrew n.i.63, i Henry IV n.iv.452, Troilus 1.1.87, Lear i.iv.65, n.ii.141.]
F2: if the Love of \ Souldier can fuffice,
F3 : if the \ Love of a Souldier can fuffice,
Merry Wives 11. i. 9
F2: My faith and this, the Princeffe I did give,
F3: My faith and this, to th' Princeffe I did give.
Labour's v.ii.454
[See also Henry VIII ii.i.62, Othello i.iii. 283.]
298 CHANGES IN THE THIRD FOLIO
F2: And thou let part fo Sir Andrew, would thou | mightft
never draw fword agen.
F3: And thou let her part fo,...
Tivelfth Night i.iii.57
F2: The more foole {Madona) to mourne for your | Brothers
foule,
F3: The more fool you {Madona) to mourn for your | Brothers
foul,
Twelfth Night i.v.65
F2: Give me leave, befeech you:
F3: Give me leave, I beseech you:
Twelfth Night iii.i.108
[See also Henry VIII i.ii.176.]
F2: he will finde it comes from a Clodde-pole.
F3: he will find that it comes from a | Clodde-pole.
Twelfth Night in. IV. 1 80
[See also Romeo i.iii.69.]
F2: Sot, didft fee Dicke Surgeon fot?
F3: Sot, did'ft thou fee Dick Surgeon fot.?
Twelfth Night v.i.iSg
[See also Cymheline v.v.114.]
F2: Hubert fhall be your man, attend on you
F3: Hubert fhall be your man, to attend on you
John 11i.iii.72
[See also Titus 1v.iii.14, Romeo i.v.129.]
F2: Harke, how hard he fetches breath:
F3: Hark, how hard he fetches his breath:
/ Henry IV 11.iv.512
F2: But by fome unlook'd accident cut off.
F3: But by fome un-look'd-for accident cut off.
Richard III i.iii.214
F2: How have yee done
Since laft we faw in F"rance?
F3: Since laft we faw y'in France'^
Henry VIII i.i.2
F2: I, pleafe your Grace.
F3: I, an't pleafe your Grace.
Henry VIII i.i.117
INTELLIGIBLE: GRAMMAR: B
299
Dor Jet}
F
Dor Jet}
¥2: As he cride thus let be, to as much end,
F3: As he cri'd, thus let it be, to as much end,
Henry VIII i.i.171
F2: I know you Wife, Religious,
F3: I know you are Wife, Religious,
Henry VIII v.i.28
F2: the olde | Ducheffe of Norfolke, and Lady Marqueffe
the old I Duchefs of Norfolk, and Lady Marquefs of
Henry VIII v.iii.i68
F2: Bleffe me, what a fry of Fornication is at dore?
F3: Blefs me! what a fry of Fonication is at the door?
Henry VIII v.iv.34
F2: hee flands there | like a Morter-piece to blow us.
F3: he ftands there | like a Morter-piece to blow us up.
Henry VIII v.iv.44
F2: Why I doe trifle thus with his defpaire.
Is done to cure it.
F3: 'Tis done to cure it.
Lear iv.vi.33-4
F2: Trumpet anfwers within.
F3: Trumpet anfzvers him ivithin.
Lear v.iii.117
V. Style
A. The current is substituted for an obsolescent, archaic, or in-
elegant word or form.
[See p. 57.]
a to he {Shrew v.i.32)
Academe to Academy {Labour's i.i.13)
and to if (/ Henry IV 11.iv.274)
Atomies to Atomes {As You Like // 111.ii.217)
attent to attentive {Hamlet i.ii.193)
bannerets to banners {All's Well 11.iii.201)
caufe to cafe {Merchant iv.i.153, 168)
chafif'd to chaf'd {Henry VIII i.i.123)
Debitor to Debtor {Cymbeline v.iv.i66)
deere to high {Richard III i.iv.206)
eaning to yeaning {Merchant i.iii.82)
(Sword) Hilts to (Swords) Hilt {Caesar v.v.28)
300 CHANGES IN THE THIRD FOLIO
ignomy to ignominy {Troilus v.x.33)
incertaine to uncertain (2 Henry IV i.iii.24)
infortunate to unfortunate (2 Henry VI iv.ix.i8)
ingratefuU to ungrateful {Timon 1v.ii.45)
it to its, it's (Romeo i.iii.53, Lear i.iv.215, Antony 11.vii.43, 4^)
marke man to marks-man (Romeo i.i.204)
moe to more (Coriolaniis 11.iii.122, 1v.ii.21, Macbeth v.iii.35, Cym-
beline v.iii.72)
never. ..nor, no. ..nought, no. ..nor to never. ..or, no. ..ought, no. ..or
[to eliminate double negatives] (2 Henry VI 11.1.85, 111.ii.366, Othello
i.i.125)
off of to off (2 Henry VI ii.i.96)
peize to poize (Richard III v.iii.105)
purpofe [verb] to propofe (Antony i.ii.171)
pyramides to Pyramids (Antony v.ii.6i)
ruthfull to ruefull (j Henry VI 11. v. 95)
Signior to Signiority (Errors v.i.421)
fimple time to fimplingtime (Merry Wives 111.iii.62)
fomething [adv.] to fomewhat (Lear i.i.20)
fometime to fometimes (Mnch Ado iii.iii. 123-24, Dream il.i.47,
III. i. 98, Shrew Ind. ii.io. All's Well 111.ii.83, Hamlet iii.i.114)
fpoke to fpoken (Antony 11.ii.145, 11.vii.73)
fquire to fquare (/ Henry IV ii.ii.12)
ftocke to ftocken (Tiuelfth Night i.iii.127)
fuch like to fuch (Richard III i.i.6o)
thorow to through (Timon 1v.iii.485, Caesar v.i.109)
threateft to threaten 'ft (2 Henry VI i.iv.48)
through-fare to thorough-fare (Cymbeline i.ii.9)
uncurable to incurable (2 Henry VI in. i. 286)
venome [adj.] to venomous (Errors v.i.69)
whileft, whiles to while (Caesar v.v.28, Antony 11. i. 4)
yond to yon (Coriolaniis iv.v.104, Hamlet i.i.36)
B. Synonyms, equivalent idioms, and alternate forms of the same
word are substituted.
F2: But they'll nor pinch,...
Nor lead me like a fire-brand.
Fa.- But they'l not pinch,...
Tempest ii.ii.4
[nor. ..nor is likewise avoided at i Henry VI i.iii.6o, 2 Henry VI v.ii.74, Coriolanus
i.i.167, Macbeth v.v.48, Antony i.v.52, Cymbeline v.v.391; cf. Dream n.i.171.]
F2: too low for a hie | praife,
F3: too low for an high | praife.
Much Ado i.i.147
[See also Labour's v.ii.725, 2 Henry VI v.iii.12, Timon iv.iii.4i6.J
INTELLIGIBLE: STYLE: B 301
F2: Will make or man or woman madly dote
F3 : Will mak a man or woman madly doat
Dream 11. i. 171
F2: he is your | Servingman, and your Husband.
F3: he is your | Servingman, and your Husbandman.
2 Henry IV v.iii.13
F2
F3
Kin[g Henry to ambassadors]. Fare you well.
King. Fare ye well.
Henry V i.ii.297
[ Ye is correspondingly changed to you when it is singular in meaning at i Henry VI
v.iii.126, Titus iv.i.78; but at Henry VIII iii.i.175 ye plural is changed to you.]
F2: And yet herein I judge mine owne Wit good;
F3: And yet herein I judge my own Wit good;
2 Henry VI iii.i.232
[Mine is also changed to my before a singular noun at j Henry VI iv.i.29, Titus
i.i.466, Lear i.iv.66, Cymbelitie n.iii.146; and my to mine before a plural noun at
J Henry VI i.iv. 151. See p. 47, note on these changes in F2.]
F2: Tarn. Come firrah you muft be hang'd.
F3: Tarn. Come firrah thou muft be hang'd.
Titus 1v.iv.47
F2: And more inconftant then the wind,
F3: And more unconftant then the wind,
Romeo i.iv.ioo
[See also n.ii.109 and iv.i.119.]
F2: Need and oppreffion flarveth in thy eyes,
F3: Need and oppreffion flarveth in thine eyes,
Romeo v.i.70
[At Shrew 111.ii.40 and i Henry IV 11.iii.39, thine is changed to thy before a word
beginning with a vowel, possibly by inadvertence. See p. 47, note on these changes
in F2.]
F2: Have Thewes, and Limbes, like to their Anceftors;
F3: Have Sinews and Limbs like to their Anceftors;
Caesar i.iii.81
F2 : No, it is ftrooke.
F3: No, it ha'sftrook.
Hamlet i.iv.4
F2: a Pigmies ftraw does pierce it.
F3 : a Pigmies ftraw doth pierce it.
Lear 1v.vi.167
302 CHANGES IN THE THIRD FOLIO
C. Attempts are made to reduce broken English, malapropisms,
and quibbles to sense.
F2: our Sexton hath reformed Signior Leonato of the matter:
F3: our Sexton hath informed Signior Leonato of the matter:
Much Ado v.i.240
F2: And all Europa fhall rejoyce at thee,
As once Europa did at luily love,
F3: And fo all Europe fhall rejoyce at thee.
As once Europa did at lufty Jove,
Much Ado v.iv.45
F2: hee is indited to dinner
F3: he is invited to dinner
2 Henry IV ii.i.26
F2: Host. ...fmce | my Exion is enter'd,
F3: Hojt. ...fmce my Action is enter'd,
2 Henry IV ii.i.28
F2: And what accites your moft worfhipful thought | to
thinke fo?
F3: And what excites your moft worfhipfull thought | to
think fo?
2 Henry IV 11.ii.56
F2: Ha, ha, he weares Cruell Garters;
F3: Ha, ha, he wears Crewel Garters;
Lear ii.iv.7
D. The order of words is changed: in particular, the verb is put
before its subject in clauses assumed to be interrogative.
F2: but is in a fuite of bufife which refted him, that can I tell:
F3 : but he's in a fuite of buffe which refted him, that I can tell :
Errors 1v.ii.45
F2 : Why this is the olde f afhion :
F3: Why is this the olde fafhion:
2 Henry IV 11.iv.53
F2: It is not a fafhion for the Maids in France to | kiffe before
they are marryed, would fhe fay?
F3: Is it not a fafhion...
Henry V v.ii.263
F2: IIol[land]. ...which is as much to fay, as let the Mag-
iftrates be la- |bouring men,
F3: Hol[land]. ...which is as much as to fay, let...
2 Henry VI 1v.ii.15
face?
INTELLIGIBLE: STYLE: D 303
F2: What haft not thou full often ftrucke a Doe,
F3: What haft thou not full often ftruck a Doe,
Titus ii.i.93
F2: Ha? Why I fhould take it: for it cannot be,
F3: Ha? Why fhould I take it? for it cannot be,
Hamlet 11.ii.571
F2: Tell me Laertes,
Why thou art thus incenfl?
F3: Why art thou thus incenft?
Hamlet iv.v.123
F2: thou canft tell why ones nofeftands ith'middle | on's face?
F3: canft thou tell why ones Nofe ftands i'th'middle | on's
Lear i.v.18
F2: Now firrah: you do wifh your felfe in Egypt.''
F3: Now firrah: do you wifh your felf in .Egypt?
Antony ii.iii.io
F2: Tell me...
How we may fleale from hence." and for the gap
That we fhall make in Time,
F3: How may we fteal from hence: and for the gap
Cymbeline in.ii.6i
E. Words and phrases from foreign languages are changed.
Cacodemon to Cacodaemon {Richard III Liii.144)
Celo to Coelo {Labour's iv.ii.5)
Cherubins to Cherubims {Merchant v.i.62)
Damoifeil to Damoifel {Henry F v.ii.217)
Scaena to Scena (throughout)
F. The spelling of proper names is altered.
1. Historical and mythological personages, etc.
Diane to Diana {Much Ado iv.i.56)
2. Geographical names.
Egypt to ^gypt {Antony passim)
Voice (s, Volcians to Volcie(s, Volceans {Coriolaniis 20 times)
3. Characters in the plays.
Berowne to Birone {Labour's 1v.ii.123, 129)
304 CHANGES IN THE THIRD FOLIO
G. Changes are made apparently with the idea of carrying out
parallelism of expression.
F2: In Jpring time, &°c.
F3: In the Spring time, &°c.
As You Like It v.iii.27, 31
[To conform to 1. 17.]
F2: Yea, and to tickle our Nofes with Spear-graffe, | to make
them bleed, and then beflubber our garments, | with it,
F3: Yea, and tickle our Nofes...
I Henry I V 11.iv.300
F2: There's Rofemary...and there is Fancies, that's for |
Thoughts.
F3: ...there's Fancies, that's for | Thoughts.
Hamlet iv.v.173
F2: Take from his heart, take from his Braine, from's time,
F3: Take from his heart, take from his brain, take from's
time,
Antony iii.vii.ii
MISTAKEN AND ARBITRARY CHANGES
L Thought
A. Fancied inconsistencies of fact and circumstance are corrected.
F2: Cel There is more in it; Cofen Ganimed.
F3: Cel. There is no more in it; Cofen Ganimed.
As You Like It 1v.iii.158
[See p. 55.]
F2: Hel. ...We blufh that thou fhouldft choofe, but be re-
f uf ed ;
Let the white death fit on thy cheeke for ever,
Wee'l neere come there againe.
F3 : Kin. We blufh that thou fhouldft choofe, but be refufed ;
Let not white death fit on thy cheeks for ever.
Airs Well 11.iii.69
[See p. 56 and p. 311.]
F2: But for this Lord,
Who hath abus'd me as he knowes himfelfe,
Though yet he never harm'd me, heere I quit him.
F3: Though yet he never heard me, here I quit him.
All's Well v.iii.293
MISTAKEN: THOUGHT: A 305
F2: Yor. Why how now Sonnes, and Brother, at a ftrife?
F3: Yor. Why, how now Sons and Brothers, at a ftrife?
3 Henry VI i.ii.4
F2: Comes Cxfar to the Capitoll to morrow?
F3: Comes Cxfar up the Capitol to morrow?
Caesar i.iii.36
[Thinking of the hill.]
F2: You come moft carefully upon your houre.
F3: You come moft chearfully upon your hour.
Hamlet i.i.6
F2: Ham. [to boy actor]... your Ladifhip is neerer heaven,
F3: Ham. ...your Lordfhip is nearer heaven,
Hamlet 11.ii.420
F2: Beare Hamlet like a Souldier to the Stage,
F3: Bear Hamlet Hke a Souldier ofiE the Stage,
Hamlet v.ii.388
[See p. 55.]
F2: The Kings o'th'earth for Warre. He hath affembled,
Bochiis the King of Lybia, Archilaus
Of Cappadocia, Philadelphos King
Of Paphlagonia...
F3: The Kings o'th'earth for Warre. He hath diffembled,
Antony iii.vi.68
B. Alterations are made in passages where the reviser's unfamiliar-
ity with a word, or the sense in which it is used, has caused him to
fancy the text corrupt.
F2: No; he is beft indued in the fmall.
F3: No; he is heft indued with the fmall.
Labour s v.ii.633
[Sc. of the leg.]
F2: He give him reafons for't: hye thee Malvolio.
F3: rie give him reafons for't by thee, Malvolio.
Twelfth Night i.v.288
F2: Since you to non-regardance caft my faith,
F3: Since you to none regardance caft my faith.
Twelfth Night V. {.11$
F2: Laftly, hurried
Here, to this place, i'th' open ayre before
I have got ftrength of limit.
F3 : / have got ftrength of limbs.
Winter's Tale 111.ii.104
306 CHANGES IN THE THIRD FOLIO
F2: Our Children, and our Sinnes, lay on the King:
We muft beare all.
F3: He muft bear all.
Henry V iv.i.229
F2: Clif. My foule and bodie on the action both.
Yorke. A dreadfull lay, addreffe thee inftantly.
F3: York. A dreadfull day, addreffe thee inftantly.
2 Henry VI v.ii.27
F2: That raught at Mountaines with out-ftretched Armes,
F3: That caught at Mountains with out-ftretched Armes,
J Henry VI i.iv.68
F2: And fet abroad new bufmeffe for you all.
F3: And fet abroach new bufmefs for you all.
Titus i.i.192
F2: Ever more fhowring in one little body?
Thou counterfeits a Barke, a Sea, a Wind:
F3: Thy counterfeits a Bark, a Sea, a Wind:
Romeo in. v. 131
[ME: Thou counterfeit'st...]
F2: I am not of that Feather, to fhake off
My Friend when he muft neede me.
F3: My friend when he mo ft needs me.
Timon i.i.104
F2: For Banqtio's Iffue have I fil'd my Minde,
F3: For Banquo's Iffue have I fiU'd my Mind,
Macbeth iii.i.64
F2: Scotland hath Foyfons
F3: Scotland hath Poifons
Macbeth iv.iii.8S
F2: W^ill fate it felfe in a Celeftiall bed,
F3: Will feat it felf fn a Celeftial bed,
Hamlet i.v.56
F2: For which I raiz'd my likeneffe.
F3: For which I rais'd my likenefs.
Lear i.iv.4
F2: I crave fit difpofition for my Wife,
Due reference of Place,
F3: Due reverence of Place,
Othello i.iii.237
MISTAKEN: THOUGHT: B 307
F2: Vex not his prefcience, be attentiue.
F3: Vex not his patience, be attentive.
Antony i.ii.19
F2: and our illes told us
Is as our earing:
F3: Is as our ear-ring:
Antony i.ii.108
F2: Which like the Courfers heire, hath yet but Hfe,
F3: Which Hke the Courfers hare, hath yet but Hfe,
Antony i.ii.187
[Apparently a confusion of courser =^ horse with courser = hunter ; ME: courser's
hair (Rowe).]
F2: thofe Flower-foft hands,
That yarely frame the office.
F3: That yearly frame the office.
Antony 11.ii.215
F2: A Sennet founded.
F3 : A Sonnet founded.
F2: It fignes well, does it not?
F3: It linges well, do's it not?
Antony 11.vii.17 s.d.
Antony 1v.iii.14
F2 : fet
The dogges oth'flreet to bay me: every villaine
Be calld Posthumus Leonatus,
F3: The dogs oth'flreet to bait me: every villain
Cymbeline v.v.223
C. The text is changed apparently in accordance with a misinter-
pretation of an image, idea, or construction.
F2: As great to me, as late, and fupportable
To make the deere loffe, have I meanes much weaker
Then you may call to comfort you;
F3: As great to me, as late, and infupportable
Tempest v.i.145
F2: A pack of forrowes, which would preffe you downe
(Being unprevented) to your timeleffe grave.
F3: (Being unprepared) to your timeleffe grave.
Gentlemen iii.i.21
F2: And churlifh chiding of the winters winde,
Which when it bites and blowes upon my body
308 CHANGES IN THE THIRD FOLIO
F3: \\'hich when it baits and biowes upon my body
As You Like It 11. i. 8
F2: thofe that are good maners | at the Court, are as ridicu-
lous in the Countrey, as the be-|haviour of the Countrie is moft
mockeable at the Court.
F3: thofe that have good | manners at the Court,...
As You Like It 111.ii.41
F2: That man fhould be at a womans command, and | yet
no hurt done, though honeflie be no Puritan, yet it | will doe no hurt,
it will weare the Surplis of humilitie | over the blacke-Gowne of a
bigge heart:
F3: That man that fhould be at a womans command, | and
get no hurt...
All's Well i.iii.88
F2: I did thinke thee for two ordinaries: to bee a pre- 1 tie
wife fellow, thou didft make tollerable vent of thy tra- 1 vel, it might
paffe :
F3: I did think thee for two ordinaries to be a pretty | wife
fellow. If thou didfl make tollerable vent of thy tra- 1 vel, it might
paffe :
All's Well 11.iii.200
F2 : but filence like a LucreJJe knife,
With bloodleJJ'e Jlroke my heart doih gore,
F3: but filence like a Lucrejs wife.
Twelfth Night 11. v. 97
F2: And to your quicke conceyving Difcontents,
F3: And to your quick conveying Difcontents,
/ Henry IV i.iii.189
F2: and to flrengthen
That holy duty out of deare refpect.
His Royall felfe in Judgement comes to heare
The caufe betwixt her, and this great offender.
F3: That holy duty of our dear refpect,
Henry VIII v.iii.119
F2: Volum. Oh fir, fir, fir.
I would have had you put your power well on
Before you had worne it out.
Corio. Let goe.
F3: Corio. Lets go.
Coriolanus iii.ii.i8
MISTAKEN: THOUGHT: C 309
F2 : it Foles me ftraight
And able Horfes :
F3: An able Horfe:
Timon ii.i.io
F2: report me and my caufes right
To the unfatisfied.
F3: To be unfatisfied.
Hamlet v.ii.332
F2: Our flefh and blood my Lord, is growne fo vild, | that
it doth hate what gets it,
F3: ...that it doth hate what it gets.
Lear 111.iv.139
F2: And all this...
Was borne folike a Souldiour, that thy cheeke
So much as lank'd not.
F3: So much as I lank'd not.
A^itony i.iv.71
F2: Cleo. ...I was
A morfell for a Monarke;
F3: A morfel of a Monark;
Antony i.v.31
F2: If not, the foule opinion
You had of her pure honor: gaines, or loofes,
Your Sword, or mine,
F3: You had of her poor honour: gains, or loofes,
Cymbeline n.iv.59
F2: Or fenfeleffe fpeaking, or a fpeaking fuch
As fenfe cannot untye. Be what it is,
The Action of my life is like it,
F3: As fense cannot untie. But what it is,
Cymbeline v.iv.147
D. Attempts are made to clarify the meaning or syntax, frequently
by rendering it more literal.
F2: How now, what is in you?
F3: How now, what mean you.?
Labour's 1v.iii.196
F2: And bid the maine flood bate his vfuall height,
F3: And bid the main flood be at his ufuall height.
Merchant iv.i.72
310 CHANGES IN THE THIRD FOLIO
F2 : but the fairs of Rofali?ide.
F3: but the most fair Rofalinde.
As You Like It 111.ii.85
F2: Th'art a tall fellow, hold thee that to drinke,
F3: That's a tall fellow, hold thee that to drink.
Shrew 1v.iv.17
F2: Wilt thou ever be a foule mouth'd and calum-|nious knaue?
F3: Thou wilt ever be a foule mouth'd and calumni-|ous knave.
All's Well i.iii.53-4
F2: The great prerogative and rite of love.
Which as your due time claimes, he do's acknowledge.
But puts it off to a compell'd reftraint:
F3: But puts it off by a compell'd reftraint:
All's Well 11.iv.41
F2: I wonder fir, wives are fuch monfters to you,
F3: I wonder, fir, wives are fo monftrous to you,
All's Well v.iii.153
F2: telling me flatly I am not proud Jack like Fal-\ftaffe,
F3: telling me flatly, I am not proud | like Jack Falstaffe,
I Henry IV il.iv.ii
F2: But howfoere, no fimple man that fees
This iarring difcord of Nobilitie,...
But that it doth prefage fome ill event.
F3: By that it doth prefage fome ill event.
I Henry VI iv.i.191
F2: Dem. Youngling,
Learne thou to make fome meaner choife,
F3: Learn thou to make fome better choife,
Titus ii.i.73
F2: or elfe this braine of mine
Hunts not the traile of Policy, fo fure
As I have us'd to doe,
F3: Hunts not the trail of Policy, fo be fure
Hamlet 11.ii.47
F2: Of them I have much to tell thee,
F3 : Of them I have as much to tell thee,
Hamlet 1v.vi.24
F2: Mec. His taints and honors, way equall with him.
F3: Men. His taints and honours may equall with him.
Antony v. i. 30-1
MISTAKEN: THOUGHT: D 311
F2: It may be heard at Court, that fuch as we
Cave heere, hunt heere, are Out-lawes,
F3: Cave here, haunt here, are Out-lawes,
Cymbeline 1v.ii.139
II. Action
A. One stage-direction is wrongly amended.
F2: Exit one to the Abbeffe.
F3: Enter one to the Abbejfe.
Errors v.i.281
B. Speeches are mistakenly redistributed.
As You Like It ii.i.69, assigned to i. Lor[d] in F2, is transferred
to 2. Lor[d], to whom the preceding speech of the duke is addressed.
lb. v.ii.17, assigned to Ol[iver] in F2, is transferred to Orl[ando],
the only male speaker in the remainder of the scene.
lb. v.iv.iii, a part of Roj[alind\s speech in F2, is given to Or-
lando], assuming that Orlando repeats the line after her.
AlVs Well II. iii. 68-70, a part of Hel[ena\s speech in F2, are added
to the following speech of the Kin[g\: obviously because of a mis-
understanding of Helena's addressing herself (see p. 56 and p. 304).
III. Meter: Verses are lengthened or shortened to improve
their rhythm.
F2: This is a ftrange thing as ere I look'd on.
F3: 'Tis a ftrange thing as e're I look'd on.
Tempest v.1.289
F2: Bene. Doe not you love me?
Beat. Why no, no more then reafon.
F3: Beat. Why, no more then reafon.
Much Ado v.iv.74
F2: Rife Grumio rife, we will compound this quarrell.
F3: Rife Grumio, we will compound this quarrell.
Shrew i.ii.27
F2: A heaven on earth I have won by wooing thee.
F3: A heav'n on earth I've won by wooing thee.
AlVs Well iv.ii.66
F2: To flabbe at halfe an howre of my life.
F3 : To ftab at half an hour of my fraile life.
2 Henry IV iv.v.109
312 CHANGES IN THE THIRD FOLIO
F2: They (knowing Dame Elianors afpiring humor)
F3: They (knowing Dame Eliariors humour)
2 Henry VI i.ii.97
F2: The fixt, was Tho?nas of Woodstocke, Duke of Glqfter,
F3: The fixth, Thomas of Woodjlock, Duke of Glojler,
2 Hetiry VI ii.ii.i6
F2: The duty that I owe unto your Majefly,
F3: The duty that I owe your Majefty,
J Henry VI v.vii.28
F2: To flay the innocent? What is my offence?
F3: To flay the innocent? What's my offence?
Richard III i.iv.177
F2: And will Create thee Empreffe of Rome.
F3: And will Create thee Emperefs of Rome.
Titus i.i.320
F2: To waite upon this new made Empreffe,
F3: To wait upon this new made Emperefs,
Titus ii.i.2o
F2: To fave my Boy, to nourifh and bring him up,
F3: To fave my Boy, nourifh and bring him up,
Titus v.i.84
F2: Firft know thou,
I begot him on thy Empreffe.
F3: I begot him on thy Emperefs.
Titus v.i.87
F2: It is an houre that I dreame not of.
F3: 'Tis an hour that / dream not of.
Romeo i.iii.67
F2: Too rude, too boyfterous, and it pricks like thorne.
F3: Too rude, too boyfterous, it pricks like thorn,
Romeo i.iv.26
F2: This prophecy Merlin fhall make, for I live before his
time.
F3 : This prophecy Merlin fhall make.
For I do live before his time.
Lear 111.ii.95
F2: Did challenge pitty of them. Was this a face
To be oppos'd againft the jarring windes?
F3: Did challenge pitty of them. Was this face
Lear 1v.vii.31
MISTAKEN: METER 313
F2: By feeing the word, which late on hopes depended.
F3: By feeing worfl, which late on hopes depended.
Othello i.iii.203
F2: Which I fo lov'd, and gave thee, thou gau'fl to Cajfio.
F3: Which I fo lov'd, and gave thee, thou gav'ft CaJJlo.
Othello v.ii.51-2
F2: Where think'll thou he is now? Stands he, or fits he?
F3: Where think'fl thou he is now.? Stands, or fits he?
Antony i.v.19
F2: If Beauty, Wifedome, Modefty, can fettle
The heart of Anthony: Octavia is
A bleffed Lottery to him.
F3: The heart of Anthotiy: Octavia's
Antony ii.ii.246
F2: I I, is't not ftrange?
F3: I. Is't not ftrange?
Antony 1v.iii.22
F2: Damn'd Pijanio
Hath with his forged Letters (damn'd Pijanio)
From this moft braveft veffell of the world
Strooke the maine top!
F3: Hath with his forg'd Letters (damn'd Pijanio)
Cymbeline 1v.ii.319
IV. Grammar
A. Supposed inconsistencies are corrected.
I. Tense and/or mood of verbs.
F2: Faire fall the face it covers.
F3: Fair falls the face it covers.
Labour's ii.i.124
F2: Marry that will, I live and die a Maid:
F3: Marry that will, I'le live and die a Maid:
AlVs Well 1v.ii.74
F2: and then come in the | other.
F3: and then came in the | other.
I Henry IV ii.iv. 175
F2: Oathes, which I never ufe till urg'd, | nor never breake
for urging,
F3: Oathes, which I never us'd till urg'd, | nor never break
for urging,
Henry V v.ii.142
314 CHANGES IN THE THIRD FOLIO
F2: So fhould'il thou either turne my flying foule,
Or I fliould breathe it fo into thy body,
And then it liv'd in fweet Elizium.
F3: And then it lives in fweet Elizium.
2 Henry VI ill. ii. 399
F2: If I gave them all my living, lid keepe my Cox- 1 combe
my felfe,
F3: If I give them all my living, I'ld keep my Cox- 1 comb
my felf,
Lear i.iv.io6
F2 : Then tis like the breath of an unfeed Lawyer, | you gave
me nothing for't, can you make no ufe of nothing | Nuncle?
F3: Then 'tis like the breath of an unfee'd Lawyer, | you
give me nothing for't,...
Lear i.iv.129
F2: If fhe fuftaine him, and his hundred Knights
F3: If fhe'll fuflain him, and his huudred Knights
Lear i.iv.333
2. Number of nouns and pronouns.
F2 : buy my felfe ano- 1 ther [tongue] of Bajazeths Mule,
F3 : buy my felf ano- 1 ther of Bajazeths Mules,
Alls Well iv.i.40
[Taking another as another mule.]
F2: for fome houre before you tooke me from the | breach of
the fea, was my filler drown'd.
F3: for fome houres before you took me...
Twelfth Night ii.i.19
F2: there is no love-Broker in the world, | can more prevaile
in mans commendation with woman, | than report of valour.
F3: ...can more prevail in mens commendation with |
women,...
Twelfth Night iii.ii.34-5
F2: Then lead the way good father, and heavens fo fhine,
F3: Then lead the way good father, & heaven fo fhine,
Twelfth Night 1v.iii.34
F2: by moft Mechanicall and durty hand.
F3: by moft Mechanicall and durty hands.
2 Henry IV v. v. 36
F2: and the nimble Gunner
With Lynftock now the divellifli Cannon touches.
MISTAKEN: GRAMMAR: A 315
And downe goes all before them.
F3: And down goes all before him.
Henry V ill. Prol. 34
F2: So doth the Swan her downy Cignets fave,
Keeping them prifoner underneath hir wings:
F3: Keeping them prifoners underneath her wings:
/ Henry VI v.iii.57
F2: But is he gracious in the peoples eye?
F3: But is he gracious in the peoples eyes?
J Henry VI 111.iii.117
F2: Trtimpets, Sonnet, and Cornets. \ Enter two Vergers, with
Jliort Jilver wands; next them two \ Scribes iu the habite of Doctors:
F3: ...in the habits of Doctors:
Henry VIII ii.iv.i s.d.
F2: he no more remembers his | Mother now, then an eight
yeare old horfe.
F3: ...than an eight years old horfe,
Coriolanus v.iv.17
F2: How fares our Cofm Hamlet?
F3: How fares my Coufm Hamlet?
Hamlet 111.ii.90
F2: And let the Kettle to the Trumpets fpeake,
The Trumpet to the Canoneer without,
F3: The trumpets to the Canoneer without,
Hamlet v.ii.268
3. Case.
F2: they were all like | one another, as halfe pence are, every
one fault feeming | monflrous, till his fellow-fault came to match it.
F3: ...every ones fault feeming mon- |ftrous,...
As You Like It 111.ii.330
F2: A fearefull Army, led by Cains Martins,
Affociated with Auffidius Rages
Vpon our Territories,
F3: Affociated with Auffidius*s Rages
Coriolanus 1v.vi.77
4. Inflected forms of adjectives and adverbs.
F2: Or with pale beggar-feare impeach my hight
F3: Or with pale beggar'd fear impeach my hight
Richard II i.i.189
316 CHANGES IN THE THIRD FOLIO
F2: they approach sadly, | and goe away merry: but they
enter my Mafters houfe | merrily,
F3: they approach sadly, and go | away merrily:..,
Timon 11.ii.103
F2: Affemble we immediate counfell,
F3: Affemble we immediately councel,
Antony i.iv.75
B. Words considered necessary to completeness of sentence struc-
ture are inserted.
F2: My name is Corporall | Nim: I fpeake, and I avouch;
'tis true: my name is Nim:
F3: My name is Corporall | Nim: I fpeak it, and I avouch,...
Merry Wives ii.i.121
F2: in few, beftow'd | her on her owne lamentation,
F3: in few words beftow'd her | on her own lamentation.
Measure iii.i,2 2i
F2: Well, as time fhall try:
F3: Well, as the time fhall try:
Much Ado i.i.225
[See also Dream v.i. 147, Winter's Tale 1n.ii.135, 2 Henry IV 11.iv.359, 2 Henry VI
n.iii.71, n1.ii.369, 3 Henry VI 11.iii.43, Lear n1.iv.117, iv.i.37.]
F2: there's goodly catching of | colde.
F3: there's a goodly catching | of cold.
Much Ado 111.iv.57
[See also Labour's 1v.iii.338, As You Like It, i.i.93, n.iv.7, n1.ii.354, Twelfth Night
n.ii.34, n1.iv.222. Winter's Tale 1v.iv.788, 2 Henry VI ii.i.93, Cymbeline n.i.32,
v.iii.si.]
F2: Why villaine thou muft know firft.
F3: Why villain, thou muft know it firft.
Labour's iii.i.150
[See also Twelfth Night v.i. 287.]
F2: you have train'd me like a pezant,
F3: you have train'd me up like a pezant.
As You Like It i.i.62
[See also Shrew 1n.ii.65, 2 Henry VI iv.i. 74, j Henry VI n.i.83.]
F2: he will practife againft thee by | poyfon, entrap thee by
fome treacherous devife,
F3: he will practice againft thee by | poyfon, to entrap thee...
As You Like It i.i.134
[See also 2 Henry VI 11.iii.78.]
MISTAKEN: GRAMMAR: B 317
F2 : Why, what would you?
F3: Why, what would you doe?
Twelfth Night i.v.251
F2: To fue his Liverie, and begge his Peace,
F3: To fue out his Livery, and beg his Peace,
1 Henry IV iv.iii.62
F2: He pledge you a | mile to the bottome.
F3: rie pledge you were't | a mile to the bottome.
2 Henry IV v.iii.53
F2: For I intend to have it ere long.
F3: For I intend to have it e're be long.
I Henry VI i.iii.87
F2: And Jleepe an Act or two; hut thofe we feare
F3: And Jleep out an Act or two; hut thofe we feare
Henry VIII Epi. 3
F2: If you but faid fo, twere as deepe with me.*
F3: If you'd but faid fo, 'twere as deep with me:
Cymheline 11.iii.91
V. Style
A. Verbal substitutions are made.
[See p. 57-]
I. For the sake of uniformity.
Fa: Do I fo.? Take thou that.
As you like this, give me the lye another time.
F3: Doe I fo? Take you that.
Tempest 111.ii.72
F2: Which great love grant,
F3: Which great Jove grant,
AlVs Well 11.iii.83
[To conform to 1. 73.]
F2: Greg. That fhewes thee weake flave, for the weakefl |
goes to the wall.
Samp. True, and therefore women being the weaker |
Veffells, are ever thruft to the wall:
F3: Samp. True, and therefore women being the weake ft |
Veffells,...
Romeo i.i.15
318 CHANGES IN THE THIRD FOLIO
2. For the sake of emphasis.
F2: both borne in an houre:
F3: both born in one houre:
Twelfth Night ii.i.17
F2: And the reft of the revolted faction, Traitors?
F3: And the reft of that revolted faction, Traitors?
Richard II 11.ii.57
F2: I thinke you are falne into the difeafe.'
F3: I think you are fain into that difeafe:
2 Henry IV i.ii.112
F2: All. A way there, a way for Csejar.
F3: All. Make way there, make way for Csefar.
Antony v.ii.330
3. Possibly to avoid repetition.
F2: Why fhould it thrive, and turne to Nutriment,
When he is turn'd to poyfon?
F3: Why Ihould it thrive, and come to Nutriment,
Tinion iii.i.57
F2: They have travail'd all the night? meere fetches.
The Images of revolt and flying off.
Fetch me a better anfwer.
F3: Fet me a better anfwer.
Lear 11.iv.89
4. Apparently with the idea of improving the text by inserting
a more usual — perhaps, in the reviser's mind, a more exact — expres-
sion.
F2: What an unwayed
Behaviour hath this Flemifh drunkard pickt (with
The devills name)
F3: what unwayed
Behaviour hath this Flemifh drunkard pickt
(I'th' devils name)
Merry Wives ii.i.19
F2 : men
Can counfaile, and fpeake comfort to that griefe,
F3: Can counfell, and give comfort to that grief.
Much Ado v.i.2i
F2: He I give you health for that anon.
F3: rie I drink your health for that anon.
2 Henry IV v.iii.24
MISTAKEN: STYLE: A 319
F2: I will take thee a box on the eare.
F3: I will give thee a box on the ear.
Henry V iv.i.213
F2: But both of you were vowed D. Humfries death.
F3: But both of you have vowed Duke Humfrey's death.
2 Henry VI 111.ii.182
F2: Proclaime our Honors Lords with Trumpe and Drum.
F3: Proclaim our Honours Lords with Trumpet and Drum.
Titus i.i.275
F2: I meane fhe is brought a bed?
F3: I mean fhe is brought to bed?
Titus 1v.ii.62
F2: The Queene, the Courtiers. Who is't that they follow,
F3: The Queen, the Courtiers. What is't that they follow,
Hamlet v.i.212
B. Omissions are made, possibly to eliminate redundancy.
F2: Wonder not, nor admire not in thy mind
F3: Wonder not, nor admire in thy mind
Twelfth Night 111.iv.144
F2: a parted ev'n juft betweene Twelve and One, ev'n | at
the turning o'th' Tyde:
F3: a parted juft between Twelve and One,...
Henry V 11.iii.12
C. Words and phrases from foreign languages are wrongly or arbi-
trarily corrected.
Battaliaes to Battels {Hamlet iv.v.76)
Me hercle to Me hercule {Labour's 1v.ii.74)
D. Proper names, and the spellings of proper names, are arbitrarily
altered.
Berowne to Berown {Labour's iv.i.97, 1v.ii.130)
Chriftopher to Chriftophero {Shrew Ind.ii.17) [to match 1. 5]
Dumaine to Dumain {Labour's six times. All's Well four times)
Katerine to Katerina {Shrew ii.i.62) [to match 11. 43-4]
Panthino to Panthion {Gentlemen i.iii.i)
Penbroke, Pembroke to Penbrook, Pembrook {Richard III iv.
V.7, v.iii.29)
Poines to Poynes {1 Henry IV seven times)
Changes in the Fourth Folio (1685)
CHANGES ADOPTED BY MANY OR ALL MODERN EDITORS
I. Thought
A. Omitted words necessary to the meaning are inserted.
F3: Oh, what a Noble combate haft fought
Between compulfion, and a brave refpect;
F4: Oh what a Noble combate haft thou fought
John v.ii.43
F3: bid him ftrive
To the love oth' Commonalty,
F4: To gain the love o'th'Commonalty,
Henry VIII i.ii.170
B. Inconsistencies of fact and circumstance are corrected.
F3: Thou art holy to bely me fo,
F4: Thou art not holy to belye me fo,
John 111.iv.44
F3: His Napkin with her true teares all bewet.
Can do no fervice on her forrowful cheeks.
F4: His Napkin with his true tears all bewet,
Titus III. i. 146
C. Corrupt readings which take, exactly or approximately, the
form of an existing word or words, not glaringly unintelligible in the
context, are corrected.
F^: Friend haft thou none.
For thine own bowels which do call thee, fire
The meere effufion of thy proper loynes,
Do curfe the Gout, Sarpego, and the Rheume
For ending thee no fooner.
F4: For thine own bowels which do call thee fire?
Measure Iii.i.29
F3 : I am fure he is in the Fleet,
F4: I am fure he is in the fleet.
Much Ado ii.i.125
[If intentional, as we think it may be because the tendency in F4 is to capitalize
nouns, this change shows that the editor understood that the word did not refer to
the prison.]
320
ADOPTED: THOUGHT: C 321
F3: It mourns, that painting an ufurping hair
Should ravish doters with a falfe afpect:
F4: It mourns, that painting and ufurping hair
Labour's 1v.iii.255
F3: What would you with the Princes.?
F4: What would you with the Princefs?
Labour's v.ii.178
F3: Heaven lay not my tranfgreffion to my charge,
That art the iffue of my dear offence
Which was fo ftrongly urg'd pafl my defence.
F4: Thou art the Iffue of my dear Offence
John i.i.257
F3: Be Coppy now to me of groffer bloud,
F4: Be Copy now to men of groffer blood,
Henry V ill. i. 24
F3: For our enemies fhall fail before us,
F4: For our Enemies fhall fall before us,
2 Henry VI iv.ii. 33
F3: Ye fhall have a hempen Candle then,
F4: Ye fhall have a hempen Caudle then,
2 Henry VI 1v.vii.84
F3: which the Duke defir'd
To him brought viva voce to his face;
F4: To have brought viva voce to his Face;
Henry VIII ii.i.iS
F3: now bull, now dog, low; Paris low; now my double |
hen'd fparrow; low Paris, low;
F4: now Bull, now Dog, 'loo; Paris, 'loo; now my double |
hen'd fparrow; 'loo, Paris, 'loo;
Troilus v.vii.io-ii
F3 : And if he ftand in Hoftage for his fafety,
Bid him demand what pledge will pleafe him befl.
F4: And if he ftand on Hoftage for his fafety,
Titus 1v.iv.105
F3: Now judge what courle had Titus to revenge
F4: Now judge what caufe had Titus to revenge
Titus v.iii.125
F3: And flay thy Lady, that in thy life lies,
F4: And flay thy Lady, that in thy life lives,
Romeo 111.iii.117
322 CHANGES IN THE FOURTH FOLIO
F3: To fhew your felf your Father's fon indeed,
More than in words?
F4: To lliow your felf your Father's Son in deed,
Hamlet 1v.vii.125
D. Corrupt readings are emended by pure guesswork.
F3: There lyes a dowlney feather, which flirs not:
Did he fufpire, that light and weightlefs dowln
Perforce muft move.
F4: There lyes a downy Feather, which ftirs not:
Did he fufpire, that light and weightlefs down
2 Henry IV iv.v.32-3
F3: The Darnell, Hemlock, and rank Femetary,
F4: The Darnel, Hemlock, and rank Fumitory,
Henry V v.ii.45
F3: And fafely brought to Dover, wherein fhipp'd
Commit them to the fortune of the Sea.
F4: And fafely brought to Dover, where infhipp'd
1 Henry VI v.i.49
F3: Like to a Ship, that having fcap'd a Tempeft,
Is ftraightway claim'd and boarded with a Pyrate,
F4: Is liraightway calm'd and boarded with a Pyrate.
2 Henry VI iv.ix. 33
F3: Go to Richmond, to Dorfet, to Anne, to the Queen, and
good fortune guide thee.
Go thou to Richard, and good Angels tend thee,
Go thou to Sanctuary, and good thoughts poffeffe thee
F4: Go thou to Richmond, and good fortune guide thee,
[To Dorfet.
Go thou to Richard, and good Angels tend thee, [To Ann.
Go thou to Sanctuary, and good thoughts poffefs thee,
[To the Queen.
Richard III iv.i.92-4
[See p. 26 and p. 63.]
F3: Friends now faft fworn,
Whofe double bofomes feen wear on heart,
F4: Whofe double bofoms feem to wear one Heart,
Coriolanus 1v.iv.13
F3: 2 ...I am forry, | when he fent to borrow of me, that my
Provifion was | out.
1 / am Tick of that grief too, as / underftand how all |
things go.
2 Every man heare fo;
ADOPTED: THOUGHT: D 323
F4: 2 Every man here's fo;
Timon 11i.vi.19
F3: Break all the Spokes and Fallies from her wheele,
F4: Break all the Spokes and Fellies from her wheel,
Hamlet 11. 11.489
II. Action
A. One stage-direction indicating action on the stage is correctly
added.
Richard III 111.ii.72 is marked [A fide.
B. One speech-prefix is correctly emended.
At Timon ii.ii.8o Boy, the speech-prefix in F3, is changed to Page.
C. Speeches are correctly redistributed.
Henry V ii.ii. 29-31, assigned to Kni[ght\ in F3, is given to Gray.
Henry VIII i.i.47 ^s you guejje, printed as part of the following
speech of Nor[folk] in F3, is added to the preceding speech of Biick-
[ingham].
lb. iv.i.20-3, assigned to i. [Gentleman] in F3, is transferred to
2. [Gentleman].
Cymbeline ii.iii.7-9, printed as an unindented paragraph in F3,
is given to Clot[en].
III. Meter
A. Verses are lengthened or shortened to improve their rhythm.
F3: Which of you fay faw Sir Eglamore of late?
F4: Which of you faw Sir Eglamore of late.?
Gentlemen v.ii.32
F3: No doubt, no doubt: Oh 'tis a perillous Boy,
F4: No doubt, no doubt: Oh 'tis a parlous Boy,
Richard III iii.i.154
F3: Dream on thy Coufms
Smothered in the Tower:
F4: Smother'd in the Tower:
Richard III v.iii.151
F3: Since I have ever followed thee with hate,
F4: Since I have ever follow'd thee with hate,
Coriolanus iv.v.98
F3: I hold me Highly Honoured of your Grace,
F4: I hold me highly Honour'd of your Grace,
Titus i.i.245
324 CHANGES IN THE FOURTH FOLIO
F3: Tis thou, and thofe, that have difhonoured me,
F4: 'Tis thou, and thofe, that have difhonour'd me,
Titus i.i.425
F3: Sirs flrive no more, fuch withered herbs as thefe
F4: Sirs, flrive no more, fuch wither'd herbs as thefe
Titus iii.i.178
F3: What is the matter, Lady?
F4: What's the matter, Lady?
Othello 1v.ii.115
F3: Welcome hither, your letters did with-hold our breaking
forth
F4: Welcome hither,
Your Letters did with-hold our breaking forth
Antony ill. vi. 78-9
F3: rie be to Csefar: if thou pleafeft not, I yield thee up my
life.
F4: I'll be to Caefar: If thou pleafell not,
I yield thee up my life.
Antony v.i.ii-12
F3: Why did you fuffer lachimo, flight thing of Italy,
To taint his nobler heart & brain, with needlefs jealoufie,
And to become the geek and fcorn o'th'others villany?
F4: Why did you fuffer Jachimo,
flight thing of Italy,
To taint his nobler heart and brain,
with needlefs jealoufie,
And to become the geek and fcorn
o'th'others villany?
Cymbeline v.iv.63-8
B. In one instance a defective verse is printed as prose.
F3: 2 The worthy Fellow is our General. He's the Rock,
The Oak not to be winde-fhaken.
F4: 2. The worthy Fellow is our General. He's the Rock, |
the Oak not to be wind-fhaken.
Coriolanus v. ii. 104-5
IV. Grammar
A. Inconsistencies are corrected.
I. Tense and/or mood of verbs.
F3: I girt thee with the valiant Sword of York.
ADOPTED: GRAMMAR: A 325
F4: I gird thee with the valiant Sword of York.
I Henry VI iii.i.171
F3: Kijfe her
F4: [Kiffes her.
1 Henry VI v.iii.184 s.d.
F3: Stab him.
F4: [Stabs him.
Titus ii.iii.ii6 s.d.
2. Number of verbs.
F3: Whip to our Tents, as Roes runs ore the Land.
F4: Whip to our Tents, as Roes run o're the Land.
Labour's v.ii.309
F3: that clofe afpect of his,
Do fhew the mood of a much troubled breaft,
F4: Does fhew the mood of a much troubled Breaft,
Joh7i 1v.ii.73
F3: Then enters | tivo or three Citizens below.
F4: Then enter two \ or three Citizens below.
2 Henry VI iv.v.i s.d.
F3: 'Faith, there hath been many great men that | have
flatter'd the people,
F4: 'Faith, there have been many great men...
Coriolanus ii.ii.y
F3: Then Exeunt. Manet Sicinius and Brutus.
F4: Then Exeunt. Manent Sicinius a7id Brutus.
Coriolanus Ii.ii.152 s.d.
F3: Why in this Woolvifh gown fhould I ftand here.
To beg of Hob and Dick, that does appear
Their needlefs Vouches :
F4: To beg of Hob and Dick, that do appear,
Coriolanus 11.iii.113
F3: And three examples of the like hath been
Within my Age.
F4 : And three Examples of the like have been
Coriolanus 1v.vi.51
F3: Draw both the Confpirators, and kills Martius, who \ falls,
F4: Draw both the Confpirators, and kill Martius, who falls,
Coriolanus v.vi.131 s.d.
326 CHANGES IN THE FOURTH FOLIO
F3: thoughts,
Which ten times fafter glides then the Sunnes beams,
F^4: Which ten times fafler glide than the Suns Beams,
Romeo 11. v. 5
F3: For Bounty that maices gods, do ftill marre men,
F4: For Bounty that makes gods, does ilill mar men,
Timo7i 1v.ii.41
F3: Exit Voltimand and Cornelius.
F4: [Exeunt Voltimand ajid Cornelius
Hamlet i.ii.41 s.d.
F3: Manet Hamlet and Horatio.
F4: Manent Hamlet and Horatio.
Hamlet 1n.ii.264 s.d.
F3: Has his Daughters brought him to this paffe.?
F4: Have his Daughters brought him to this affe?
Lear 111.iv.62
F3: What means your Graces.?
F4: What mean your Graces?
Lear Ii1.vii.29
F3: they laugh, that winnes.
F4: they laugh that win.
Othello iv.i.i22
F3: Are there no Hones in heaven,
But what (erves for the Thunder?
F4: But what ferve for the Thunder?
Othello v.ii.238
F3: Menacrates and Menas, famous Pyrates
Makes the Sea ferve them,
F4: Make the Sea ferve them, ~
Antony i.iv.49
3. Person (including changes from one form of the second per-
son to another).
F3: Why (Cofm) were thou Regent of the world,
F4: Why (Coufm) wert thou Regent of the world,
Richard II 11. i. 109
F3: Or by what means got's thou to be releas'd?
F4: Or by what means got' ft thou to be releas'd
I Henry VI i.iv.25
ADOPTED: GRAMMAR: A 327
F3: What woulds thou have with me?
F4: What wouldft thou have with me?
Romeo iii.i.74
4. Number of nouns and pronouns.
F3: From her fhall read the perfect way of honour,
And by thofe claim their Greatnefs; not by Bloud.
F4: From her fhall read the perfect ways of Honour,
Henry VIII v. v. 3 7
F3: A Lover may beflride the Goffamours,
That idles in the wanton Summer ayr,
F4: A Lover may beftride the Goffamour
Romeo ii.vi.i8
5. Gender.
F3: Loe as the Bark that hath difcharg'd his fraught,
F4: Loe as the Bark that hath difcharg'd her Fraught,
Titus i.i.71
V. Style
A. The current is substituted for an obsolescent, archaic, or in-
elegant word or form.
a' to o' (very frequently everywhere, especially in Coriolaniis)
accompt to account {Winter's Tale 11.iii.197)
Alarums to Alarms (/ Henry VI ii.i.42)
arrant to errand {Antony 111.xiii.104)
ballet to ballad {Dream iv.i.210)
Be (Gods fonties) to By {Merchant 11.ii.39)
breath [verb] to breathe {Titus iii.i.212, 250)
Bretheren to Brethren {Titus i.i.348, 357, v.i.104)
Confter to Conftrue {Shrew iii.i.30, 40)
curtal to curtail {Cymheline ii.i.ii)
dam to damn {Caesar iv.i.6)
eight to eighth {Caesar 11. i. 213)
Fift to Fifth {2 Henry IV i v. v. 120, 131, v. iii.113, 116, v.v.41)
Happely /o Haply {Henry Fv.ii.93)
Hufwife to Houfwife {Cymheline 111.ii.76)
Live to Lieve {Coriolaniis iv.v.176)
lives [possessive singular] to lifes {Richard II ii.i.15)
Major to Mayor {Richard III iii.i.17)
Meyny to Many {Coriolaniis iii.i.66)
moneth(s to month (s {passim)
murthers to Murders {Titus iv.i.59)
328 CHANGES IN THE FOURTH FOLIO
Neat-heard to Neat-herd {Cymbeline i.i.149)
preafs to prefs {Henry VIII v.iv.81)
Prefident to Precedent {Henry VIII 11.ii.83, Cymbeline iii.i.73)
reverent to reverend {Titus 11.iii.296)
Scaffolage to Scaffoldage {Troilus i.iii.156)
fhoot to fliout {Coriolanus i.ix.50)
fhrike(s to fliriek(s, fhreek {Richard II 11i.iii.183, Romeo iv.iii.47,
v.iii.189)
fixt, Sixt to fixth, Sixth {Much Ado v.i.206, 210, / Henry VI
IV. i. 2, Henry F//7i.ii.58, 94, Lear i.i. 175, Cymbeline i.m.T^i, v.iv.20)
foly to folely {Coriolanus iv.vii.i6)
fowing, fowed to fewing, fewed {Coriolanus i.iii.52, Titus 11.iv.39)
Spleets to Splits {Antony 11.vii.122)
fteed(s /oflead(s {All's Well 111.vii.41, Coriolanus v.iii.192)
fterve, fterv'd /o llarve, ftarv'd {Coriolanus ii.iii.iio, Romeo i.i.217)
ftroke to ftruck {Richard III v.iii.217, Troilus ii.ii.7, Hamlet
III. ii. 317)
rtrook(en to flruck(en {Tempest v.i.25. Labour's 1v.iii.220, Twelfth
Night iv.i.34, Henry VIII v.i.i, Troilus i.ii.6, ^;2,, Coriolanus i.vi.4,
iv.i.8, 1v.ii.19, IV.V.215, Hamlet i.iv.4, Antony iii.i.i, Cymbeline
1v.ii.321)
fufferage to fuffrage {Coriolanus 11.ii.136)
fwoond, fwound to fwoon {John v.vi.22, 2 Henry IV iv.v.234,
Coriolanus v.ii.64, 96)
tantingly to tauntingly {Coriolanus i.i.108)
throwes to throes {Timon v.i.198, Cymbeline v.iv.44)
vale to vail {Coriolanus iii.i.98)
vil'd, vild(e(fl, vildly to vile(ly, vilefl {Measure v.i.95. Dream
i.i.232, John Ii1.iv.19, 138, iv.i.96, iv.ii.241, 1v.iii.48, 2 Henry IV
ii.ii.6, 2 Henry F/iv.i.134, Coriolanus i.i.iS2, lu.i. 10, Titits v.ii.i'j^,
Caesar 1v.iii.131, Lear 111.iv.141, 1v.vi.279, Antony 11.ii.242, iv.xiv.
22, Cymbeline i.i.143, v.iv.i8, v. v. 198, 252)
where to whether {John i.i.75)
Whether to Whither {Timon i.i.193, Cymbeline 111.vi.57)
wraftling to wreftling {John v.ii.41)
yerewhile to erewhile {As You Like It iii.v.104)
B. Words and phrases from foreign languages are corrected.
F3: Our Ediles fmot,
F4: Our .^diles fmote,
Coriolanus iii.i.319
F3: Per Stygia per manes Vehor.
F4: Per Styga, per Manes vehor.
Titus ii.i.i3S
ADOPTED: STYLE: B 329
F3 : Enter the Bandetti.
F4 : Enter the Banditti.
Timon 1v.iii.396
F3 : And look you lay it in the Pretors Chair,
F4: And look you lay it in the Praetors Chair,
Caesar i.iii.143
F3: Hyftorica pajjio,
¥i\ Hyfterica pajfio,
Lear 11.iv.56
C. The spelling of proper names is corrected.
1. Historical and mythological personages, etc.
Brokenbury to Brakenbury {Richard III v.v.14)
Herford to Hereford {Richard II i.i.3)
Hirfms to Hirtius {Antony i.iv.58)
Phaebe to Phoebe {Titus i.i.316)
Plantaganet to Plantagenet {John i.i.9)
Stokeley to Stokefly {Henry VIII iv.i.ioi)
Trey to Tray {Lear 111.vi.62)
Warcefter to Worcefter (/ Henry IV v.v.15 s.d.)
2. Geographical names.
Byrnam to Birnam {Macbeth six times)
Lover to Louver [i.e. Louvre] {Henry V 11.iv.132)
Poule's [cathedral] to Pauls {Henry VIII v.iv.14)
Panthseon, Panthean to Pantheon {Titus i.i.242, 333)
Parifh Garden to Paris-Garden {Henry VIII v.iv.2)
Ryalto to Rialto {Merchant i.iii.102)
Volcean(s, Volcian(s to Volfcian(s {Coriolanus passim)
Welch to Welfh (2 Henry IV i.iii.79, 83)
3. Characters in the plays.
Annius Brutus to Junius Brutus {Coriolanus i.i.225 s.d.)
Apermantus to Apemantus {Timon i.i.180, 181, 11.ii.77, 80)
Auffidius to Aufidius {Coriolanus i.iii.46, i.iv.13, 20, i.v.io, i.vi.59)
Birone to Biron {Labour's li.i.66, 209, 214, iv.iii.i, 119)
Chalcas to Calchas {Troilus v.i.82, 94)
Clotten to Cloten {Cymbeline 1v.ii.62 s.d., 330)
Edmond to Edmund {Lear i.i.i)
Gourney to Gurney {John passim)
Martias to Martius {Coriolanus i.vi.ii)
Mecenas to Mecaenas {Antony iv.i.i s.d.)
Menacrates to Menecrates {Antony i.iv.48)
Pointz, Poynes to Poins {i Henry IV i.ii.i s.d., 187 s.d.)
Ventigius to Ventidius {Timon i.ii.i s.d., 9)
330 CHANGES IN THE FOURTH FOLIO
D. The rime is restored in defective riming passages.
F3: Clo. By my troth moll pleafant, how both did fit it.
Mar. A mark marvellous well fhot, for they both did hit.
F4: Mar. A mark marvellous well fhot, for they both did
hit it.
Labour's iv.i.123
E. Contractions are partially or fully expanded.
[Something like the opposite tendency may be observed at Cymheline iv.ii. 142, 169,
where He'ld is changed to He'd and I'ld to I'd. These changes are also adopted by
most modern editors.]
F3: That's a deed thou't die for.
F4: That's a deed thou'lt die for.
Timon i.i.195
[See also Timon n.ii.86, 1v.iii.4s, v.iv.4g.]
Fg: 'Tas | been proved,
F4: 'T has I been proved,
Timon i.ii.46
VI. Punctuation
F3: Mir. How came we afhore.?
Pro. By providence divine,
Some food, we had,
F4: Pro. By providence divine;
Tempest i.ii.159
F3: Enter Ferdinand and Ariel, invifible playing &° finging.
F4: Enter Ferdinand and Ariel invifible, playing &" finging,
Tempest i.ii.375
F3: I fay by Sorcery he got this Ifle
From me, he got it. _
F4: I fay by Sorcery he got this Ifle,
Tempest in. ii. 49-50
F3: You have prevail 'd (my Lord) if I can do it
By ought that I can fpeak in his difpraife.
She fhall not long continue love to him:
F4: You have prevail'd (my Lord): if I can do it
Gentlemen 1i1.ii.46
F3: Give ear to his motions; (M. Slender) I will | defcription
the matter to you,
F4: Give ear to his motions (M Slender):...
Merry Wives i.i.195
ADOPTED: PUNCTUATION 331
F3: What thou lieft?
F4: What, thou lieft!
Merry Wives ii.i.44
F3: May feem as (hie, as grave, as jull, as abfolute:
As Angela, even fo may Angelo...
Be an arch-villaine:
F4: May feem as fhy, as grave, as jufl, as abfolute
As Angelo: even fo may Angelo...
Measure v. i. 54-5
F3: Doft thou conjure for wenches, that thou calll for fuch
flore,
When one is one too many, go get thee from the doore.
F4: When one is one too many? go get thee from the door.
Errors ill. i. 35
F3: What obfervation mad 'ft thou in this cafe?
Of his hearts Meteors tilting in his face?
F4: What Obfervation mad 'ft thou in this cafe,
Errors iv.ii.5-6
F3: My wife is in a wayward mood to day,
And will not lightly truft the Meffenger,
That I fhould be attach'd in Ephefus,
I tell you 'twill found harfhly in her eares.
F4: And will not lightly truft the meffenger;
Errors iv.iv.5-6
F3: For fhape, for bearing argument and valour,
F4: For fhape, for bearing, argument and valour
Much Ado III. i. 96
F3: To have no man come over me, why, fhall I | alwayes
keep below ftairs.?
F4: To have no man come over me; why, fhall I al-|ways
keep below ftairs.?
Micch Ado v.ii.8
F3: Let me fay no my Liege, and if you pleafe,
I onely fwore to ftudy with your Grace,
F4: Let me fay no my Liege, and if you pleafe.
Labour's i.i.50
F3: Through the Velvet, leavs the zvind,
All unjeen, can paf sage find.
F4: Through the Velvet leaves, the wind,
Labour's iv.iii.ioi
332 CHANGES IN THE FOURTH FOLIO
F3: You lov'd, I lov'd for intermiffion,
No more pertains to me my Lord than you;
F4: You lov'd, I lov'd for intermiffion.
Merchant 111.ii.200
F3: How fiery and froward our Pedant is,
Now for my life that knave doth court my love,
F4: How fiery and froward our Pedant is!
Shrew iii.i.46
F3: What Angel fhall
Bleffe this unworthy husband, he cannot thrive,
F4: Blefs this unworthy husband? he cannot thrive,
AlVs Well 111.iv.26
F3: Thou fpeak'ft it falfely: as I love mine Honour,
And mak'fl conjecturall fears to come into me.
Which I would fain fhut out, if it fhould prove
That thou art fo inhumane, 'twill not prove fo.
F4: Which I would fain fhut out; if it fhould prove
AlVs Well v.iii.115
F3: What for being a Puritan, thy exquifite reafon, | dear
knight.
F4: What for being a Puritan.? thy exquisite reafon, | dear
knight.
Twelfth Night ii.iii.i 33
F3: O what a deal of fcorn, looks beautifull?
In the contempt and anger of his lip,
A murdrous guilt fhewes not it felf more foon,
F4: In the contempt and anger of his lip!
Twelfth Night iii.i. 142-3
F3: will you walk towards him, I will make | your peace
with him, if I can.
F4: will you walk towards him?...
Twelfth Night 111.iv.256
F3: For has not the Divine Apollo iaid?
Is't not the tenor of his Oracle,
That King Leontes fhall not have an Heir,
Till his loft Child be found?
F4: For has not the Divine Apollo faid.
Winter's Tale v.i.37
F3: Yet to avoid deceit I mean to learn;
F4: Yet, to avoid deceit, I mean to learn;
John i.i.215
ADOPTED: PUNCTUATION 333
F3: And this is Geffreys in the Name of God:
How comes it then that thou art call'd a King,
F4: And this is Geffreys, in the Name of God,
John II. i. 106
F3: Norfolk, fo farre, as to mine enemy,
By this time (had the King permitted us)
One of our fouls had wandred in the air,
F4: Norfolk, fo far, as to mine Enemy.
Richard II i.iii.193
F3: No further go in this,
Then I by Letters fhall direct your courfe
When time is ripe, which will be fuddenly:
rie fteal to Glendower ,
F4: Than I by Letters fhall direct your courfe;
When time is ripe, which will be fuddenly,
/ Henry IV l.iii. 293-4
F3: A perilous Gafh, a very Limme lopt off:
And yet, infaith, 'tis not his prefent want
Seems more then we fhall find it.
F4: And yet, in faith, 'tis not, his prefent want
/ Henry I V iv.i.44
F3 : How comes that (fayes he) that takes upon | him not to
conceive?
F4: How comes that? ffays he that takes upon | him not to
conceivej
2 He7iry IV 11. ii. 109-10
F3: But rather moodie mad: And defperate Stagges,
Turn on the bloudy Hounds with heads of Steel,
F4: But rather moodie mad and defperate Stags,
I Henry VI 1v.ii.50
F3: Talkers are no good doers, be affur'd:
We go to ufe our hands, and not out tongues.
F4: Talkers are no good doers; be affur'd,
Richard III i.iii.352
F3: Do good my Lord, your Citizens entreat you.
F4: Do, good my Lord, your Citizens intreat you.
Richard III 111.vii.201
F3: If fo then, be not Tongue-ty'd: go with me,
F4: If fo, then be not Tongue-ty'd: go with me,
Richard III 1v.iv.132
334 CHANGES IN THE FOURTH FOLIO
F3: None, good my Liege, to pleafe you with the hearing,
Nor none fo bad, but well may be reported.
F4: None good, my Liege, to pleafe you with the hearing,
Richard III 1v.iv.458
F3: by whofe virtue,
The Court of Rome commanding: You my Lord
Cardinall of York, are joyn'd with me their Servant,
In the impartiall judging of this bufmeffe.
F4: The Court of Rome commanding. You, my Lord
Henry VIII ii.ii.102
F3: Prethee return, with thy approach: I know,
My comfort comes along: break up the Court;
F4: Prithee return; with thy approach, I know,
Henry VIII n.iv.239
F3: Doe what you will, my Lords:
And pray forgive me ;
If I have us'd my felf unmannerly,
F4: And pray forgive me,
If I have us'd my felf unmannerly;
Henry VIII iii.i. 175-6
F3: What comes the General to fpeak with me?
F4: What, comes the General to fpeak with me?
Troilus 111.iii.55
F3: difeafes of the South, guts-griping Ruptures, Catarres,
F4: difeafes of the South, Guts-griping, Ruptures, Catarrhs,
Troilus v.i.17
F3: Hold patience.
F4: Hold, Patience.
Troilus v.ii.29
F3: moft charitable care
Have the Patricians of you for your wants,
Your fufTering in this dearth, you may as well
Strike at the Heaven with your ftaves,
F4: Have the Patricians of you, for your wants,
Coriolanus i.i.64
F3: Let us alone to guard Coriolus
If they fet down before's: for the remove
Bring up your Army:
F4 : Let us alone to guard Coriolus :
If they fet down before's, for the remove
Coriolanus i.ii.27-9
ADOPTED: PUNCTUATION 335
F3: Let her alone Lady, as fhe is now:
She will but difeafe our better mirth.
F4: Let her alone, Lady, as fhe is now,
Coriolaniis i.iii.104
F3: No more I fay, for that I have not wafh'd
My Nofe that bled,
F4: No more, I fay, for that I have not wafh'd
Coriolanus i.ix.47
F3: So, to our Tent:
Where ere we do repofe us, we will write
F4: Where, e're we do repofe us, we will write
Coriolanus i.ix.74
F3: Priefls muft become Mockers, if they | fhall encounter
fuch ridiculous Subjects as you are, when | you fpeak beft..., It is
not worth...
F4: ...if they | fhall encounter fuch ridiculous Subjects as you
are;...
Coriolanus ii.i.79
F3: For 'tis a Sore upon us.
You cannot Tent your felf:
F4: For 'tis a Sore upon us,
Coriolanus iii.i.235
F3: Mark you this people.?
F4: Mark you this, People?
Coriolanus 111.iii.74
F3: A worthy Ofificer i'th'Warr, but Infolent,
O'recome with pride. Ambitious, paft all thinking
Self-loving.
F4: O'recome with Pride, Ambitious paft all thinking,
Coriolanus iv.vi.31
F3: I. You are a Roman, are you.?
Men. I am as thy General is.
F4: Men. I am, as thy General is.
Coriolanus v.ii.36
F3: Alas! how can we, for our Country pray.?
Whereto we are bound, together with thy victory,
Whereto we are bound:
F4: Alas! how can we, for our Country pray,
Whereto we are bound? together with thy Victory,
Whereto we are bound?
Coriolanus v.iii.107-9
336 CHANGES IN THE FOURTH FOLIO
F3: And ours with thine befall, what fortune will.
F4: And ours with thine, befal what Fortune will.
Titits v.iii.3
F3: Retain that dear perfection which he owes,
Without that title Romeo, doffe thy name,
F4: Without that Title; Romeo, doff thy Name,
Romeo 11.ii.47
F3: I am no Pilot, yet wert thou as far
As that vaft-fhore: wafh'd with the fartheft Sea,
I fhould adventure for fuch Merchandife.
F4: As that vaft-fhore, wafh'd with the fartheft Sea,
Romeo 11.ii.83
F3: This but begins, the woe others muft end.
F4: This but begins the Woe, others muft end.
Romeo iii.i.117
F3: come civil night.
Thou fober futed Matron all in black,
F4: Thou fober-futed Matron, all in black,
Romeo iii.ii.ii
F3 : God fhield : / fliould difturb Devotion :
F4: God fhield, I fhould difturb Devotion:
Romeo iv.i.41
F3: You fooles of Fortune, Trencher-friends, Time flies,
F4: You Fools of Fortune, Trencher-friends, Time-flies,
Timon 111.vi.95
F3: I nev'r had honeft man about me, I all,
I kept were Knaves, to ferve in meat to Villaines.
F4: I nev'r had honeft man about me, I, all
Timon 1v.iii.475
F3: This is not Brutus friend, but I affure you,
A prize no leffe in worth:
F4: This is not Brutus, Friend, but I affure you,
Caesar v.iv.26
F3: Now for our felf, and for this time of meeting
Thus much the bufmeffe is.
F4: Now for our felf, and for this time of meeting:
Hamlet i.ii.26
F3: But break my heart, for I muft hold my tongue.
F4: But break, my heart, for I muft hold my tongue.
Hamlet i.ii.159
ADOPTED: PUNCTUATION 337
F3: Even thofe you were wont to take delight in the | Trage-
dians of the City.
F4: Even thofe you were wont to take delight in, the | Trage-
dians of the City.
Hamlet 11.ii.317
F3: I know't my Sifter's: this approves her Letter,
F4: I know't, my Sifter's: This approves her Letter,
Lear 11.iv.182
F3 : Why? But you are now well enough :
F4: Why, But you are now well enough:
Othello 11.iii.284
F3: Good now fome excellent Fortune.
F4: Good now, fome excellent Fortune:
Antony i.ii.24
F3: I know not, Menas,
How leffer Enmities may give way to greater,
Were't not that we ftand up againft them all:
'Twere pregnant they fhould fquare between themselves,
F4: How leffer Enmities may give way to greater.
Antony ii.i.43-4
F3: I do think,
I faw't this morning: Confident I am.
Laft night 'twas on my Arme:
F4: I faw't this Morning: Confident I am,
Cymbeline 11.iii.144
CHANGES WHICH RESTORE THE READKTG OF AN
EARLIER TEXT
L Thought
A. Omitted words necessary to the meaning are inserted.
F3: / look'd on thoufands, who have fped the better
By my regard, but kill'd none fo:
F4: I have look'd on thoufands, who have fped the better
Winter's Tale i.ii.389
F3: Give thee thy hire, and thy Soul to hell,
F4: Give thee thy hire, and fend thy Soul to Hell,
2 Henry VI 111.ii.225
F3: There not the meaneft fpirit on our party.
Without a heart to dare, or fword to draw.
When Helen is defended :
338 CHANGES IN THE FOURTH FOLIO
F4: There's not the meanefl fpirit on our party,
Troilus 1i.ii.156
F3: Now th'troublefome.
F4: Now th'art troublefome.
Coriolanus iv.v.i6
F3: What Torch is yond, that vainly lends his light
To grubs and eyeleffe Sculls? As difcern,
It burneth in the Capels Monument.
F4: To grubs and eyelefs Sculls? As I difcern,
Romeo v.iii.126
F3: 'Tis my memory lockt,
F4: 'Tis in my memory lockt,
Hamlet i.iii.85
F3: Oh me, haft thou done?
F4: Oh me, what hall thou done?
Ilamlet 111.iv.25
F3: And mine a hundred forty.
F4: And mine a hundred and forty.
Othello i.iii.4
B. Inconsistencies of fact and circumstance are corrected.
F3: I know not thy millreffe, out on my millreffe.
F4: I know not thy Miftris; out on thy Millris.
Errors n.i.68
F3: Gueffe thou the reft, King Edwards friend mufl down.
F4: Guefs thou the reft, King Edward's Friends mull down.
J Henry VI iv.iv.28
F3: Ah Aunt! you wept not for your Fathers death:
F4: Ah Aunt! you wept not for our Father's death.'
Richard III Ii.ii.62
F3: Thy Nephews loul bids thee defpair and die.
F4: Thy Nephews fouls bid thee defpair and die.
Richard III v.iii.154
F3: Thy warlike hands, thy mangled daughter here:
F4: Thy warlike hand, thy mangled Daughter here:
Titiis iii.i.256
F3: Thy other banifht fons with this dear fight
Struck pale and bloodlefs,
F4: Thy other baniflit Son with this dear fight
Titus iii.i.257
RESTORING: THOUGHT: B 339
F3: God ye gooden fair Gentlewomen,
F4: God ye gooden fair Gentlewoman
Romeo ii.iv.io6
Fg: Gentleman, can any of you tell me where I may find |
the young Romeo?
F4: Gentlemen, can any of you tell me...
Romeo 11.iv.114
C. Corrupt readings which take, exactly or approximately, the
form of an existing word or words, not glaringly unintelligible in the
context, are corrected.
F3: Seeking fweet favors for this hatefull foole,
F4: Seeking fweet favors for this hateful fool,
Dream iv.i.46
F3: And let my Liver rather heat with wine.
Then my heat cool with mortifying groans.
F4: Than my heart cool with mortifying groans.
Merchant i.i.82
F3: RoJ. Well, in her perfon, I fay I will not have you.
Orl. Then in mine own perfon, I doe.
RoJ. No faith, die by Attorney:
F4: Orl. Then in mine own perfon, I dye.
As You Like It iv.i.82
F3: I verily did think
That her old gloves were one, but 'twas her hands:
F4: That her old gloves were on, but 'twas her hands
As You Like It 1v.iii.26
F3: Lord of our prefence Anglers, and if you.
F4: Lord of our prefence, Angiers, and of you.
John II. i. 367
F3: The kind is moved, and anfwers not to this.
F4: The King is moved, and anfwers not to this.
John iii.i.217
F3: It were a fhame to let his Land by leafe:
F4: It were a fhame to let this Land by leafe:
Richard II ii.i.iio
F3: pray. ..that our Armies joyn not in a hot day: for
if I take | but two Ihirts out with me, and I mean not to fweat
ex- 1 traordinarily :
F4: ...for I take | but two fhirts out with me,...
2 Henry IV i.ii.196
340 CHANGES IN THE FOURTH FOLIO
F3: To a low Trumpet, and a Point of War?
F4: To a lowd Trumpet, and a Point of War?
2 Henry IV iv.i.52
F3: Their neighing Courfes daring of the Spurre,
F4: Their neighing Couriers daring of the Spur,
2 Henry IV iv.i.119
F3: And fome are it ungotten and unborn,
F4: And fome are yet ungotten and unborn,
Henry V i.ii.287
F3: Sorrow would folace, and mine Age would ceafe.
F4: Sorrow would folace, and mine Age would eafe.
2 Henry VI ii.iii.21
F3: Off with the Tray tors head.
And rear it in the place your Fathers ftand,
F4: And rear it in the place your Father's ftands,
J Henry VI ii.vi.86
F3: Where my poor young was limb'd, was caught, and kild.
F4: Where my poor young was lim'd, was caught and kill'd.
3 Henry VI v.vi.17
F3: He that bereft the Lady of thy Husband,
F4: He that bereft thee, Lady of thy Husband.
Richard III i.ii.138
F3: But if black Scandal, or four-fac'd Reproach,
F4: But if black Scandal, or foul-fac'd Reproach,
Richard III 111.vii.231
F3: A Book of Prayers on their pillow lay,
Which one (quoth Forreft) almoft chang'd my mind :
F4: Which once (quoth Forreft) almoft chang'd my mind.*
Richard III 1v.iii.15
F3: Sad, high, and working, fall of State and Woe:
F4: Sad, high, and working, full of State and Woe;
Henry VIII Prol. 3
F3: Once certes, that promifes no Element
In fuch a bufmeffe.
F4: One certes, that promifes no Element
Henry VIII i.i.48
F3: Can the Spirit wonder
A great man fhould decline.
F4: Can thy Spirit wonder
Henry VIII 111.ii.374
RESTORING: THOUGHT: C 341
F3: Then the two \ that held the Garland, deliver the fame to the
other I next two, who obferve the fame order in their Charges,
F4: ...who obferve the fame \ order in their Changes,
Henry VIII iv.ii.82
F3: Whiles other fifh with craft for great opinion,
I, with great truth, catch meer fimpHcity,
F4: While others Fifh with craft for great Opinion,
Troilus 1v.iv.102
F3 : hooting
At Coriolanus Exile. How he's comming.
And not a hair upon a Souldiers head
Which will not prove a whip :
F4: At Coriolanus Exile. Now he's coming,
Coriolanus iv.vi.133
F3: I tell the Fellow,
Thy General is my Lover:
F4: I tell thee, Fellow,
Coriolanus v.ii.13
F3: This pretty brable will undo us all:
F4: This petty brabble will undo us all:
Titus ii.i.62
F3: As frefh as mornings dew diftill'd on flowers.?
F4: As frefh as morning Dew diftill'd on flowers?
Titus ii.iii.201
F3: But would it pleafe the good Andronicus,
F4: But would it pleafe thee, good Andronicus,
Titus v.ii.iii
F3: If ere the Emperour means no good to us.
F4: I fear the Emperour means no good to us.
Titus v.iii.io
F3: And is it not well ferv'd into a fweet Goofe?
F4: And is it not well ferv'd in to a fweet Goofe.?
Romeo 11.iv.79
F3: I would have made it Ihort, | or I was come to the whole
depth of my Tale,
F4: I would have made it fhort, | for I was come...
Romeo 11.iv.95
F3: elfe in his thanks too much.
F4: elfe is his thanks too much.
Romeo 11.vi.23
342 CHANGES IN THE FOURTH FOLIO
F3: Thou art like one of thefe fellows, that when | he enters
the confines of a tavern, claps me his fword up-|on the table, and
faies, God fend me no need of thee:
F4: Thou art like one of thofe Fellows,...
Romeo in.i.5
F3: What ftorm is this that bowes fo contrary?
F4: What ftorm is this that blows fo contrary .<*
Romeo 111.ii.64
F3: Hand aloft,
F4: ftand aloof:
Romeo v.iii.i
F3: Have I bin ever free, and mull my houfe
Be my retentive enemy? My Goal?
F4: Be my retentive enemy? My Gaol?
Timon iii.iv.8i
[See also Lear iv.vi.267.J
F3: Who glaz'd upon me, and went furely by,
F4: Who glaz'd upon me, and went furly by,
Caesar i.iii.21
F3: The multiplying Villaines of Nature
Do fwarm upon himj
F4: The multiplying villanies of Nature
Macbeth i.ii.ii
F3: Raife out the written troubles of the Brain,
F4: Rafe out the written troubles of the Brain,
Macbeth v.iii.42
F3: That you have tane his tenders for true pay,
Which are not ftartling.
F4: Which are not (tarling.
Hamlet i.iii.107
[Modern editors, of course, spell the word sterling.]
F3: The rugged Pyrrhus, he whofe Sable Armes
Black as he purpofe, did the night refemble
F4: Black as his purpofe, did the night refemble
Hamlet 11.ii.447
F3: Give him needfull note,
F4: Give him heedful note,
Hamlet 111.ii.82
RESTORING: THOUGHT: C 343
F3: Why let the ftrucken Deer go weep,
The Heart ungalled play:
F4: The Hart ungalled play:
Hamlet 111.ii.266
D. Corrupt readings are emended by pure guesswork.
F3: Thefe two Antipholis, thefe two fo like,
And thofe two Dromio's, one in femblance:
F4: And thefe two Dromio's, one in femblance:
Errors v.i.357
F3: No indeed it's not,
F4: No indeed is't not,
John iv.i.23
F3: It doth contain a King: Kind Richard lies
Within the Limits of yond Lime and Stone,
F4: It doth contain a King: King Richard lies
Richard II 1ii.iii.25
and wherein
It fhall enjoy them, every thing let off,
You fhall appear, that your demands are juft,
F4: It fhall appear, that your Demands are juft.
You fhall enjoy them, every thing fet off
Henry IV iv.i. 144-5
F3: And Earl I am, and Suffolk am I call'd.
F4: An Earl I am, and Suffolk am I call'd.
I Henry VI v.iii.53
F3: To gaze upon thefe fecrets of the deep?
F4: To gaze upon the fecrets of the deep?
Richard III i.iv.35
F3: Richard yet livss, Hells black Intelligencer,
Onely referv'd their Factor, to buy fouls,
And fend then hither :
F4: And fend them thither:
Richard III 1v.iv.73
F3: We fhould take root here, where we lir;
Or fir State Statues onely.
F4: We fhould take root here where we fit;
Or fit State-Statues only.
Henry VIII i.ii.87
344 CHANGES IN THE FOURTH FOLIO
F3: if I Caejar had ftabl'd their Mothers, they would have
done no | lefs.
F4: if Csefar had ftabb'd their Mothers,...
Caesar i.ii.273
F3: Hound or Spaniel, Brache, or Hym:
Or Bobtail tight,
F4: Or Bobtail tike,
Lear 111.vi.69
II. Action
A. Speeches are correctly redistributed.
Gentlemen 11. i. 91-2, assigned to Sil[via\ in F2F3, is transferred to
Sp[eed].
2 Henry IV iv.v.221-5, assigned to Poin[s] in F3, is transferred
to Prin[ce].
Henry VIII i.ii. 110-28, assigned to Qiiee[n] in F3, is transferred
to King.
Romeo 111.ii.71 Did Romeos hand Jlied Tybalts blood, assigned to
Nur[se] in F3, is added to the preceding speech of Juli[et].
III. Meter: Verses are lengthened or shortened to improve
their rhythm.
F3: Refolv'dly more leifure fhall expreffe:
F4: Refolvedly more leifure fhall exprefs:
AlVs Well v.iii.325
F3: Cofm, throw down your gage.
Doe you begin.
F4: Coufm, throw down your Gage, Do you begin.
Richard II i.i.i86
F3: And let him nev'r fee joy that breaks that oath.
F4: And let him ne'er fee joy that breaks that Oath.
Richard II 11.iii.151
F3: And fhe fhall be fole Victoreffe, Cxjars Csefar.
F4: And fhe fhall be fole Victrefs, Cxjar's Csefar.
Richard III 1v.iv.336
F3: Young Son, it argues a diftempered head,
F4: Young Son, it argues a diftemper'd Head,
Romeo 11. iii. 33
F3: A bafenefs to write fair; and laboured much
F4: A bafenefs to write fair; and labour'd much
Hamlet v.ii.34
RESTORING: GRAMMAR: A 345
IV. Grammar
A. Inconsistencies are corrected.
1. Tense of verbs.
Fg: The Cardinals Letters to the Pope mifcarried,
And come to th'eye oth'King,
Fi'. And came to th'eye oth'King,
Henry VIII 111.ii.31
F3: He give his honours to the world agen,
F4: He gave his Honours to the world agen,
Henry VIII 1v.ii.29
F3: ...where th'other Inftruments...did minifter
Unto the appetite; and affection common
Of the whole body; the Belly anfwers.
F4: Of the whole Body, the Belly anfwer.'d
Coriolanus i.i.103
F3: He that would vouch'd it in any place but here.
F4: He that would vouch it in any place but here.
Titus l.i.360
2. Number of verbs.
F3: Two of both kindes make up four.
F4: Two of both kinds makes up four.
Dream 111.ii.438
F3: but he come armed in his for- 1 tune, and prevents the
flander of his wife.
F4: but he comes armed in his for- 1 tune, and prevents...
As You Like It iv.i.54
F3 : Why, what read you there
That have fo cowarded and chac'd your bloud
F4: That hath fo cowarded and chaf'd your Blood
Henry V 11.ii.75
F3: and fuch toyes as thefe,
Hath mov'd his Highnefs to commit me now.
F4: Have mov'd his Highnefs to commit me now.
Richard III i.i.6i
F3: Smile heaven upon this fair Conjunction,
That long have frown'd upon their Enmity:
F4: That long hath frown'd upon their Enmity:
Richard III v. v. 21
346 CHANGES IN THE FOURTH FOLIO
F3: the I Houfes that he makes, lafts till Dooms-day:
F4: the houfes | that he makes, laft till Dooms-day:
Hamlet v.i.59
F3: Exit Othello and Dejdemona.
F4: Exeunt Othello and Defdemona.
Othello ii.i.2io
3. Person.
F3: I ilood i'th' levell
Of a full-charg'd confederacy, and gives thanks
F4: Of a full-charg'd confederacy, and give thanks
Henry VIII i.ii.3
F3: O Lord why looks thou fad?
F4: O Lord why look' ft thou fadP
Romeo 11. v. 21
4. Number of nouns and pronouns.
F3: I fhall defpair, there is no Creatures loves me;
F4: I fhall defpair, there is no Creature loves me;
Richard III v.iii.200
F3: Hect. Thy hands upon that match.
F4: Hect. Thy hand upon that match.
Troiliis IV.V.270
F3: Yet wrung with wrongs more than our back can bear.
F4: Yet wrung with wrongs more than our Backs can bear.
Titiis 1v.iii.48
F3: But throw her forth to Beaft and Birds of prey:
F4: But throw her forth to Beafts and Birds of Prey:
Titus v.iii.198
F3: Caft by their Grave befeeming Ornament,
F4: Caft by their grave befeeming Ornaments,
Romeo i.i.91
F3: Loves Herauld fhould be thoughts,
F4: Loves Heraulds fhould be thoughts,
Romeo 11. v. 4
F3: Muft / be his laft Refuge? his Friend: (like Phyfitians)
That thriv'd, give him over.
F4: Muft I be his laft Refuge? his Friends (like Phyficians)
Timon iii.iii.ii
F3: th' Ambaffadours that was | bound for England,
F4: th'Ambaffadour that was | bound for England,
Hamlet iv.vi.9
RESTORING: GRAMMAR: A 347
F3: Blanket my loins, put all my hairs in knots,
F4: Blanket my loins, put all my hair in knots,
Lear ii.iii.io
5. Case.
F3: and fhould the Emprefs know
This dilcord ground, the mufick would not pleafe.
F4: This difcord's ground, the Mufick would not pleafe.
Titus ii.i.70
B. Omitted words necessary to completeness of sentence structure
are inserted.
F3: We'll bury him: And then, what's brave, what Noble,
Let's do't after the high Roman fafhion,
F4: We'll bury him: And then what's brave, what's Noble,
A?itony IV. XV. 86
V. Style
A. The current is substituted for an obsolescent, archaic, or in-
elegant word or form.
Alablaller to Alaballer (Richard III iv.iii.ii)
befhrow to Befhrew {Romeo iii.v.222)
Berlady to By'r Lady (Romeo i.v.31, etc.)
caufe to cafe (Romeo 111.iii.84)
difgefted to digefted (All's Well v.iii.74)
ingenuous to ingenious (Labour's i.ii.27)
Leaft to Left (Antony v.i.64)
magnanimious to magnanimous (Troilus iii.iii.273)
Mifconfter to Mifconflrue (Richard III iii.v.61)
mo(e to more (Romeo Iii.i.ii6, Lear i.v.34)
Poefie to Pofie (Hamlet iu.n.i4'j) . ,
ftrook to ftruck (Titus ii.iii.117)
ftrow to ftrew (Coriolanus v.v.3)
talent to talon (/ Henry IV 11.iv.321)
vaded to faded (Richard II i.ii.20)
venter to venture (i Henry IV v.i.ioi)
vild(e to vile (2 Henry /Fi.ii.17, 11.ii.46, 11.iv.149, iii.i.15, v.ii.i8,
v.iii.138, Romeo ni.i.138, Hamlet ii.ii.iio, iv.i.30, iv.v.112)
Whether to Whither (5 Henry VI ii.vi.9, Richard III v.v.ii)
B. An alternate form of the same word is substituted.
F3: But a union in partition,
F4: But an Union in partition.
Dream 111.ii.210
348 CHANGES IN THE FOURTH FOLIO
F3: Shall wound mine honour with fuch feeble wrong,
F4: Shall wound my Honour with fuch feeble Wrong;
Richard II i.i.191
F3: Let never Day or Night unhallowed pafs,
F4: Let never Day nor Night unhallowed pafs,
2 Henry VI ii.i.85
F3: Yond light is not day light,
F4: Yon light is not Day-light,
Romeo iii.v.12
C. The spelling of proper names is altered.
1. Mythological personages.
Hiperious to Hyperion's (F2 Hiperions) {Titus v.ii.56)
2. Characters in the plays.
Charmain to Charmian {Antony i.v.i, 54 (F1F2), 18 (F2))
Clotten to Cloten (Fi) {Cymbeline v.v.274)
Defdemon to Defdemona {Othello 111.iii.56)
Julet to Juliet (Qq Fi) {Romeo i.iii.65)
Piercie, Piercy to Percie, Percy {Richard II iii.iii.19 ^.d., v.vi.ii
s.d.)
D. The rime is restored in defective riming passages.
F3: Whiles I in this affaire doe thee imply.
Lie to my Queen, and beg her Indian Boy;
F4: Whiles I in this affair do thee imploy.
Dream 111.ii.374
E. Contractions are expanded.
F3: He begg'd of me, to fteal't. ^
F4: He begg'd of me, to fteal it.
Othello v.ii.232
INTELLIGENT AND JUDICIOUS EMENDATIONS SUPERSEDED
BY MORE AUTHORITATIVE READINGS FROM AN EARLIER
TEXT OR BY BETTER APPROVED CONJECTURES
L Thought
A. Inconsistencies of fact and circumstance are corrected.
F3: I cannot bid your daughter live,
F4: You cannot bid my daughter live,
SUPERSEDED: THOUGHT: A 349
ME: I cannot bid you bid my daughter live; (Q)
Much Ado v.i.265
F3: the fpight of my man prevaileth againfl | me.
F4: the fpight of my Mafter prevaileth againft | me.
ME: The spite of man prevaileth against me. (Fi)
2 Henry VI i.iii.212
B. Corrupt readings which take the form, exactly or approxi-
mately, of an existing word or words are corrected.
F3: Il'd not have you fhevv'd it.
F4: rid not have fhew'd you it.
ME: I'd not have show'd it. (Fi)
Winter's Tale v.iii.59
F3: unlefs it fwell paft hiding, and then is paft | watching.
F4: unlefs it fwell paft hiding, and then it is paft watching.
ME : unless it swell past hiding, and then it's past watching. (Q)
Troilus i.ii.261
F3: How may atchievments mock me?
F4: How many atchievments mock me?
ME: How my achievements mock me! (Q Fi)
Troilus iv.ii.69
F3: The thing I have forfworn to grant, may never
Be held by your denials.
F4: Be held by you denial.
ME: Be held by you denials. (Fi)
Coriolanus v.iii.81
F3: Victorious Titus, true the tears I fhed,
F4: Victorious Titus, ruth the Tears I fhed,
ME: Victorious Titus, rue the tears I shed, (Qq)
Titus i.i.105
F3: With witchcraft of his wits, hath traiterous gifts,
F4: With witchcraft of his wits, and traiterous gifts
ME: With witchcraft of his wit, with traitorous gifts, — (Qq)
Hamlet i.v.43
F3: What fent had I, in her ftoln houres of Luft?
F4: What (cent had I, in her ftoln hours of Luft?
ME: What sense had I of her stol'n hours of lust? (Qq Fi)
Othello 111.iii.342
F3 : he fhall have every day feveral greeting,
F4: He fhall have every day feveral greetings,
ME: He shall have every day a several greeting, (Fi)
Antony i.v.77
350
CHANGES IN THE FOURTH FOLIO
C. In undoubtedly corrupt passages, a more intelligible reading
is inserted or the approved sense is approximately recovered.
F3
F4
ME
F4:
ME:
F3;
F4:
ME:
F3:
F4:
ME:
ME:
Bene. Bett?
Bene. But?
Benedick. Beat-
(Theobald)
Much Ado iv.i.311
F3: a has an Englifh main,
F4: a has an Englifh mean,
ME: a' has an English name; (Rowe)
AlVs Well IV.V.35
F3: But I will lift the downfall Mortimer
F4: But I will lift the downfaln Mortimer
ME: But I will lift the down-trod Mortimer (Qq)
I Henry IV i.iii.135
F3: And fo obfequious will thy Father be,
Men for the loffe of thee, having no more.
As Priam was for all his valiant Sons,
F4: Man, for the lofs of thee, having no more,
ME: Even for the loss of thee, having no more, (Capell)
3 Henry VI ii.v.119
Befides th'applaufe and approbation
The which (mofl mighty) for thy place and may,
The which (moft Mighty) for thy place and merit,
The which, most mighty for thy place and sway, (Q Fi)
Troilus i.iii.6o
Come, come, thou boy-quiller, fhew thy face:
Come, come, thou Boy-killer, fhew thy Face:
Come, come, thou boy-queller, show thy face; (Q Fi)
Troilus v.v.45
What then? Foreme, this fellow fpeaks.
What then? For me, this fellow fpeaks.
What then? — 'Fore me, this fellow speaks! (Theobald)
Coriolanus i.i.118
My Birth-lace have I, and my lover upon
This Enemie Town He enter, if he flay me
He does fair Juftice:
My Birth-place have I, and my Lover left; upon
This Enemy's Town I'le enter, if he flay me.
My birthplace hate I, and my love's upon
This enemy town. Ell enter: if he slay me, (Fi, Capell)
Coriolanus iv.iv.23
SUPERSEDED: THOUGHT: C 351
F3: fervd his defignements
In mine own perfon : hope to reap the Fame
Which he did end all his;
F4: In mine own Perfon: hop'd to reap the Fame
ME: In mine own person; holp to reap the fame (FO
Coriolanus v.vi.36
F3 : I was the firft-born Son, that was the laft
That wore the Imperial Diadem of Rome:
F4: I was the firft-born Son of him that laft
Wore the Imperial Diadem of Rome:
ME: I am his first-born son that was the last
That wore the imperial diadem of Rome; (Qq)
Titus i.i.5-6
F3: And fwear with me, as with the woful Feer
F4: And fwear with me, as with the woful Peer,
ME: And swear with me, as, with the woeful fere (Qq Fi)
Titus iv.i.90
F3: By my troth it is faid, for himfelf to, mar quo-|tha
Gentleman, can any of you tell me where I may find | the young
Romeo?
F4: By my troth it is fad, for himfelf to mar, quotha? |
Gentlemen, can any of you...
ME: By my troth, it is well said; "for himself to mar," quoth
a'? — Gentlemen, can any of you... (Qq)
Romeo ii.iv.113-4
F3: That he might not beteen the winds of heaven
Vifit her face too roughly.
F4: That he might not between the winds of Heaven
ME: That he might not beteem the winds of heaven (Qq)
Hamlet i.ii.141
F3: Of indinguifh'd fpace of Womans will,
F4: Of indiftinguifh'd fpace of Womans will,
ME: O undistinguish'd space of woman's will! (Qo)
Lear 1v.vi.271
F3: I lake iniquity
Sometime to doe me fervice.
F4: I take iniquity
ME: I lack iniquity (Qq Fi)
Othello i.ii.3
F3: Menacrates and Menas, famous Pyrates
Makes the Sea ferve them, which they ear and wound
With kneels of every kind.
352 CHANGES IN THE FOURTH FOLIO
F4: With knells of every kind.
ME: With keels of every kind: (Fi)
Antony i.iv.50
F3: a Creature, fuch,
As to feek through the Regions of the earth
For one, he like; there would be fomething failing
In him, that fhould compare.
F4: For one, he likes; there would be fomething failing
ME: For one his like, there would be something failing (Fi)
Cymbeline i.i.21
II. Action
A. One stage-direction is moved.
Enter Othello, printed after Ii1.iv.34 in F3, is put after 1. 30; modern
editors, following Qq Fi, put it in the middle of I. 28 or 30.
B. One speech is reassigned.
Titus v.iii.77-95, assigned, along with 11. 73-6, to Goth in F3, is
transferred to Mar[cus]; modern editors join 11. 73-95 to the pre-
ceding speech of Marcus.
III. Meter: Verses are lengthened or shortened to improve
their rhythm.
F3: Art thou, art thou the flave that with thy breath | haft
kild mine innocent childe?
F4: Art thou, art thou the Have that with thy breath
Halt kill'd mine innocent child?
ME: Art thou the slave that with thy breath hast kill'd
Mine innocent child? (Q)
Much Ado v. i. 249-50
F3: Unto his Lordfhip, to whofe unwifhed yoak,
F4: Unto his Lordfhip, to whofe unwifhd yoak.
ME: Unto his lordship, whose unwished yoke (Qq Fi)
Dream i.i.81
F3: This is it that makes me bridle my paffion,
F4: This is that makes me bridle my paffion,
ME: This is it that makes me bridle passion, (Fi)
J Henry VI iv.iv.19
F3: And I am turned forth, be it known to you,
F4: And I am turn'd forth, be it known to you,
ME: I am the turned forth, be it known to you (Qi)
And I am the turn'd forth, be it known to you, (Capell)
Titus v.iii.109
SUPERSEDED: GRAMMAR: A ,?53
IV. Grammar
A. Inconsistencies are corrected.
I. Number of verbs.
F3: Some Cupids kills with arrows,
F4: Some Cupids kill with arrows,
ME: Some Cupid kills with arrows, (Q Fi)
Much Ado III. i. 106
F3: Drums beats.
F4: [Drums beat.
ME: Drum beats. (Fi)
John ir.i.75 s.d.
F3: Thy deeds inhumane and unnatural.
Provokes this Deluge moft unnatural.
F4: Provoke this Deluge moil unnatural.
ME: Thy deed, inhuman and unnatural.
Provokes this deluge most unnatural. (Qq)
Richard III i.ii.6o-i
F3: So foolifh Sorrows bids your Stones farewell.
F4: So foolifh Sorrows bid your Stones farewel.
ME: So foolish sorrow bids your stones farewell. (Rowe)
Richard III iv.i.104
F3: yet his legs excells all mens,
F4: yet his Legs excell all mens,
ME: yet his leg excels all men's; (Qq)
Rortieo 11. v. 40-1
F3: This daies black Fate, on mo dales do depend,
F4: This days black Fate, on more days does depend,
ME: This day's black fate on more days doth depend; (Qq Fi)
Romeo iii.i.ii6
F3: Over your Friends, that loves you.
F4: Over your Friends, that love you.
ME: Over your friend that loves you. (Fi)
Caesar i.ii.36
F3: What is he, whofe griefs
Bears fuch an Emphafis?
F4: Bear fuch an Emphafis.?
ME: What is he whose grief
Bears such an emphasis? (Qq)
Hamlet v.i. 248-9
F3: When Majefty fall to folly,
354 CHANGES IN THE FOURTH FOLIO
F4: When Majefty falls to folly,
ME: When majesty stoops to folly. (Qq)
Lear i.i.148
F3: elfe fo thy cheeks payes Ihame,
F4: elfe fo thy Cheeks pay fhame,
ME: else so thy cheek pays fhame (Fi)
Antony i.i.31
2. Number of nouns and pronouns.
F3: 'Tis time to give him Phyfick, their difeafes
Are grown fo catching.
F4: 'Tis time to give them Phyfick, their difeafes
ME: 'Tis time to give 'em physic, their diseases (Fi)
Henry VIII i.iii.36
F3: You fee my Lord, how ample ye are belov'd.
F4: You fee, my Lord, how ample you are belov'd.
ME: You see, my lord, how ample you're belov'd. (Rowe)
Timon i.ii.125
3. Case.
F3: married the Duke of Clarence daughter,
F4: married the Duke of Clarence^s Daughter,
ME: Married the Duke of Clarence' daughter,
2 Henry VI iv.ii.132
[With some regularity F4 adds 's to nouns ending in s or an 5-sound; modern eflitors
indicate the possessive case by printing simply an apostrophe. We forgo printing
further examples.]
B. Words considered necessary to completeness of sentence struc-
ture are added.
F3: Enter Dio. Cref.
F4: Enter Diomede and Creffid. ^
ME: Enter Diomedes, with Cressida.
Troilus iv.v.17
V. Style
A. The current is substituted for an obsolescent, archaic, or in-
elegant word or form.
arrant to Errant [ME: errand (Pope)] (Coriolanus v.ii.58)
(God) buy you to b' w' you [ME: be wi' you] {Hamlet ii.i.69, etc.,
Othello 111.iii.379); to b' you {Troilus 1ii.iii.288)
Forfet-feller /o Faufet-feller [ME: fosset-seller (Rowe)] {Coriolanns
ii.i.65)
SUPERSEDED: STYLE: A 355
gooden to good-e'en [ME: good den (Collier)] {Coriolanus iv.vi.
20, 21)
found to fwound [ME: swoon (Rowe)] {As Yon Like It v.ii.25)
founded to fwooned [ME: swounded (Qi)] {Romeo 111.ii.56)
vilde to vile [ME: lord's (Qq)] {Hamlet Ii.ii.455)
B. XA'ords and phrases from foreign languages are corrected.
In scene headings, Scefia is substituted for Scsena throughout.
C. Attempts are made to correct the spelling of proper names.
Julet to Juliet [ME: Jule (Fi)] {Romeo i.iii.44, 48, 58)
Polidamus to Polydamus [ME: Polydamas (Pope)] {Troiliis v.v.6)
Prolixines to Polyxines [ME: Polyxenes (Dyce)] {Troihis v. v. 11)
D. One contraction is partially expanded.
F3: If I fhould tell thee o're this thy days work,
Thou't not believe thy deeds.'
F4: Thou'lt not believe thy deeds:
ME: Thou'ldst not believe thy deeds: (White)
Coriolanus i.ix.2
INTELLIGIBLE CHANGES NOT ADOPTED BY MOST MODERN
EDITORS
I. Thought
A. Fancied inconsistencies of fact and circumstance are corrected.
F3: the Wind-mill in Saint George's Field?
F4: the Wind-mill in Saint George's Fields?
2 Henry IV ill. ii. 190
F3: The Conqueft of our fcarce cold Conqueror,
F4: The Conquefts of our fcarce cold Conqueror,
1 Henry VI iv.iii.50
F3: Madam, the King is old enough himfelf
To give his Cenfure: Thefe are no Womens matters.
F4: To give this Cenfure: Thefe are no Womans matters.
2 Henry VI i.iii.115
B. Fancied corruptions are corrected.
F3: th'unfifting Poftern
F4: th' infifting Poftern
Measure 1v.ii.85
F3: Shave the head, and tye the beard, and fay it | was the
defire of the penitent to be fo bar'de before his | death :
356 CHANGES IN THE FOURTH FOLIO
F4: ...the penitent to be fo barb'd before his death:
Meastire iv.ii.i68
F3: But the next morne betimes,
His purpofe furfetting, he fends a warrant
For my poor brothers head.
F4 : His purpofe forfeiting, he fends a Warrant
Measure v.i.102
F3: The childing Autumn, angry Winter change
F4: The chiding Autumn, angry Winter change
Dream ii.i.112
Fg: eanelings
F4: euelings
Merchant i.iii.74
F3: Shall feize one half his goods,
F4: Shall feize on half his goods,
Merchant iv.i.348
F3: I met the ravine Lyon
F4 : I met the raving Lyon
F3: With Muficks of all forts,
F4: With Mufick of all forts,
F3: expertnefs in warrs:
F4: Expertnefs in War;
AlVs Well iii.ii.ii6
AlVs Well 111.vii.40
AlVs Well 1v.iii.167
F3: many thoufand on's
Have the difeafe, and feel't not.
F4: many a thoufand one's
Winter's Tale i.ii.206
F3: Malicioufly, like poifon?
F4: Malicioufly, like a poifon;
Winter's Tale i.ii.321
F3: Mufl he be then as fhadow of himfelf?
F4: Muff he be then a fhadow of himfelf.?
I Henry VI v.iv.i 33
F3: It fhall be therefore bootleffe,
That longer you delire the Court,
F4: That longer you defer the Court,
Henry VIII 11.iv.62
INTELLIGIBLE: THOUGHT: B 357
F3: appear it to your mind,
That through the fight I bear in things to love,
I have abandon 'd Troy,
F4: That through the fight I bear in things to come,
Troilus iii.iii.4
F3: This peace is nothing, but to rufl Iron, encreafe Taylors, |
and breed Ballad-makers.
F4: This Peace is worth nothing,...
Coriolaniis iv.v.219
F3: fuch a de-|cay'd Dotant as you feem to be?
F4: fuch a de-|cay'd Dotard, as you feem to be?
Coriolaniis v.ii.43
F3: To his fur-name Coriolaniis longs more pride
Than pitty to our Prayers. Down: an end.
This is the laft.
F4: Than Pity to our Prayers. Down: and end,
Coriolaniis v.iii.171
F3 : A glooming peace
F4: A gloomy Peace
Romeo v.iii.304
F3: Th'unkindeft Beaft, more kinder than Mankind.
F4: Th'unkindeft Beaft much kinder than Mankind.
Timon iv.i.36
F3: Up Sword, and know thou a more horrid hent
F4: Up Sword, and know thou a more horrid bent
Hamlet iii.iii.88
F3: And that which moft with you fhould fafe my going
F4: And that which moft with you fhould fave my going,
Antony i.iii.55
C. In undoubtedly corrupt passages, mistaken corrections are
made.
F3: Marry I will, let them play, it is not a Comen- 1 ty, a
Chriftmas gambold, or a tumbling trick?
F4: Marry I will, let them play, is it not a Comon- 1 ty,...
Shrew Ind. ii.134
F3: No more the thirfty entrance of this Soyl,
Shall dambe her lips with her own childrens bloud:
F4: No more the thirfty Entrails of this Soyl,
I Henry IV i.i.5
358 CHANGES IN THE FOURTH FOLIO
F3: And thus thy fall hath left a kind of blot,
To make thee full fraught man, and beft indued
With fome fufpition, I will weep for thee.
F4: With fome fufpition, and I will weep for thee.
Henry V Ii.ii.140
F3: hope to reap the Fame
Which he did end all his; and took fome pride
To do my felf this wrong;
F4: Which he did make all his; and took fome Pride
Coriolanus v.vi.37
F3: Saw you the Wizard Sifters.?
F4: Saw you the Wizards Sifters?
Macbeth iv.i.136
F3: Is as our ear-ring: fare thee well a while.
F4: Is as our Ear-ring are: fare thee well a while.
Antony i.ii.108
II. Meter: Verses are lengthened or shortened to improve
their rhythm.
F3: Becaufe fhe is fomething lower then my felf,
F4: Becaufe (he's fomething lower than my felf,
Dream 111.ii.304
F3: What's the matter fweet-heart?
F4: What is the matter fweet heart?
AlVs Well 11.iii.261
F3: To wit, an indigefted deformed lump,
F4: To wit, an indigefted deform'd lump,
J Henry VI v.vi.51
F3: And is his Oracle.
Nor. He is vex'd at fomething.
F4: Nor. He's vex'd at fomething.
Henry VIII ill. ii. 104
F3: Make wells, and Niobes of the maids and wives;
F4: Make wells, and Niob's of the Maids and Wives;
Troilus V.X.19
F3: fay that Martius return me,
As Cominiiis is return'd, unheard: what then?
F4: As Cominius return'd, unheard: what then.?
Coriolanus v. i. 42-3
INTELLIGIBLE: METER 359
F3: Speak'ft thou of Juliet} how is it with her?
F4: Speak'ft thou of Juliet} How is't with her?
Romeo 111.iii.93
F3: Are prized by their Mafters. Believ't dear Lord,
F4: Are priz'd by their Mafters. Believ't, dear Lord,
Tinion i.i.174
F3: Look where he comes: Not Poppy nor Mandragora,
Nor all the drowfie Syrrups of the world,
F4: Look, where he comes: Not Poppy, Mandragora,
Othello 111.iii.334
F3: Wherein I lived. The greateft Prince oth' world,
F4: Wherein I liv'd. The greateft Prince o'th'world,
Antony iv.xv.54
in. Grammar
A. Supposed inconsistencies are corrected.
I. Tense and/or mood of verbs.
F3: Win her with gifts, if fhe refpect not words,
F4: Win her with gifts, if fhe refpects not words;
Gentlemen iii.i.89
F3: unleffe he know fome ftrain in me, that I know | not
my felf, he would never have boorded me in this | fury.
F4: unlefs he knew fome Strain in me,...
Merry Wives 11.1.7 7
F3: Though Page be a fecure foole, and ftands fo | firmly on
his wives frailty;
F4: ...and ftand fo firmly...
Merry Wives ii.i.208
F3: I came to acquaint you | with a matter:
F4: I come to acquaint you | with a matter;
As You Like It i.i.iii
F3: 'Till LyoneVs iffue fails, his fhould not Reign.
F4: 'Till LyoneVs iffue fail,, he fhould not Reign.
2 Henry VI 11.ii.56
F3: And what / fpake, / fpake it to my face.
F4: And what I fpeak, I {peak it to my Face.
Romeo iv.i.34
360 CHANGES IN THE FOURTH FOLIO
F3: If he do break the fmallell Particle
F4: If he doth break the fmalleil Particle
Caesar ii.i.139
F3: I heard my felf proclaim'd,
F4: I have heard my felf proclaim'd,
Lear ii.iii.i
F3: Pojl. A Repulfe though your Attempt (as you call it) [
deferve more; a punifhment too.
F4: Poft. A Repulfe, though your Attempt... 1 deferves
more ;
Cymheline i.iv.113-4
2. Number of verbs.
F3: Your Father and my Uncle hath made | motions:
F4: Your Father and my Uncle have made motions:
Merry Wives 11r.iv.62
F3: The tydings comes, that they are all arriv'd.
F4: The tydings come, that they are all arriv'd.
John 1v.ii.115
F3: There comes none here.
F4: There come none here.
2 Henry IV 11.iv.89
F3: Then what intends thefe forces thou doft bring?
F4: Then what intend thefe Forces thou dofl bring.^'
2 Henry VI v.i.6o
F3: Mine fuch, as fill my heart with unhop'd joyes.
F4: Mine fuch, as fills my heart with unhop'd joys.
J Henry VI in.iii.172
F3: Sennet. Exeunt. Manet Brut, b" Caff.
F4: Senate. Exeunt. Manent Brut, df Caf
Caesar i.ii.24 s.d.
F3: The time will not allow the complement
Which very manners urges.
F4: Which very manners urge.
Lear v.iii.234
3. Number of nouns and pronouns.
F3: They are both in cithers pow'rs:
F4: They are both in cithers pow'r:
Tempest i.ii.450
IThis change is found only in some copies of F4.I
INTELLIGIBLE: GRAMMAR: A 361
F3: I doe forgive
Thy rankeft fault: all of them:
F4: Thy rankeft faults: all of them:
Tempest v.i.132
F.3: Ile...whifper him in your behalf es;
F4: rie...whifper him in your behalf;
Winter's Tale 1v.iv.787
F3: I I muff a dozen mile to night.
F4: I ! muft a dozen miles to night.
2 He7iry IV iii.ii.272-3
F3: The flat iinraifed Spirits, that hath dar'd,
On this unworthy Scaffold, to bring forth
F4.: The flat iinraifed Spirit, that hath dar'd,
Henry V Prol. 9
F3: The Sons compell'd, been Butcher to the Sire:
F4: The Sons, compell'd, been Butchers to the Sire,
Richard III v.v.26
F3: If we did think
His Contemplations were above the earth,
And fixt on fpiritual object,
F4: And fix'd on fpiritual objects,
Henry VIII 1i1.ii.132
F3 : he fights as you fing prick- 1 fong,
F4: he fights as you fing prick- 1 fongs,
Romeo 11.iv.21
F3: What do ye aske of me, my friend.
F4: \^'hat do you ask of me, my Friend?
Timon iii.iv.45
4. Case.
F3: We were inforc'd for fafety fake, to flye
F4: We were inforc'd for fafety's fake, to flye
/ Henry I V v.i.65
F3: take it God,
For it is none but thine.
F4: For it is none's, but thine.
Henry V iv.viii.iio
F3: Yet am I Suffolk and the Cardinalls Broker.
F4: Yet am I Suffolk^s, and the Cardinal's Broker.
2 Henry VI i.ii.ioi
362 CHANGES IN THE FOURTH FOLIO
5. Inflected forms of adjective and adverb.
F3: And fquar'fh thy life according:
F4: And fquar'fl thy Hfe accordingly;
Measure v.i.480
F3: As Index to the flory we late talk'd of,
F4: As Index to the flory we lately talk'd of,
Richard III 11.ii.149
F3: The Swallow followes not Summer more willing,
F4: The Swallow follows not Summer more willingly,
Timon Iii.vi.30
B. Words thought necessar}^ to completeness of sentence structure
are inserted.
F3: I did not give the lye;
F4: I did not give thee the lye;
Tempest 111.ii.74
F3: Would take her with all faults,
F4: would I take her with all her faults.
Shrew i.i.127
F3: My guilt be one my head, and there an end;
F4: My guilt be on my head, and there's an end:
Richard II v.i.69
F3: 'Tis certain, every man that dyes ill, the ill upon | his
own head, the King is not to anfwer for it.
F4: 'Tis certain, every man that dyes ill, the ill is | upon his
own head...
Henry V iv.i.184
F3: Well faid, my Maflers, and welcome all:
F4: Well faid, my Mafters, and welcome to all:
2 Henry VI i.iv.12
F3: Well, I fay, | it was never merry world in England, fmce
Gentlemen | came up.
F4: Well, I fay, | it was it never a merry World in England,...
2 Henry VI iv.ii.8
F3: And to give order, that no manner perfon
F4: And to give order, that no manner of perfon
Richard III iii.v.108
INTELLIGIBLE: GRAMMAR: B 363
F3 : who ever the King favours,
The Cardinall inftantly will find employment,
F4: The Cardinal inftantly will find employment for,
Henry VIII ii.i.48
F3 : my vowes and prayers
Yet are the Kings; and till my Soule forfake.
Shall cry for bleffings on him.
F4: Yet are the Kings; and till my Soul forfake me,
Henry VIII ii.i.89
F3: Rich Stuffes and Ornaments of Houfhold, which
I finde at fuch proud Rate,
F4: I find at fuch a proud Rate,
Henry VIII iii.ii.127
F3: pluck him thence.
Left his infection being of catching nature.
Spread further.
F4: Left his Infection being of a catching nature,
Coriolanus in. i. 3 10
F3: Draw both the Conjpirators, and kills Martins, who \ falls,
Auffidius Jlands on him.
F4: Draw both the Conjpirators, and kill Martius, zvho falls, \
and Aufidius Jlands on him.
Coriolanus v.vi.131 s.d.
F3: He writes his Name with his staff, and guides it \ with
feet and mouth.
F4: ...with his Feet and Mouth
Titns iv.i.71 s.d.
F3: Has only fent his prefent occafion now my | Lord:
F4: H'as only fent his prefent occafion now, my | Lord;
Timon in. ii. 33
F3: Had fent to me firft, but for my minds fake."
F4: H'ad fent to me firft, but for my minds fake:
Timon Iii.iii.23
F3: Has caught me in his eye, I will prefent my honeft grief
F4: H'as caught me in his Eye, I will prefent my honeft grief
Timon iv.iii. 469-70
F3: Who dead?
F4: Who's dead?
Lear v.iii.225
364 CHANGES IN THE FOURTH FOLIO
IV. Style
A. The current is substituted for an obsolescent, archaic, or in-
elegant word or form.
a to he {Antony 111.xi.72)
a pieces to in pieces {Henry VIII v.iv.73)
Abram to auburn {Coriolaniis ii.iii.i8)
afeard to afraid {Tempest 11.ii.57, John iv.ii.135, Caesar 11.ii.67,
Macbeth i.iii.96); affear'd to afraid {Macbeth i.vii.39)
alarum'd to alarm'd {Lear ii.i.53)
an to a {Much Ado ii.i.i68)
and if to if {2 Henry VI ii.iii.74)
as to that {Merry Wives v. v. 51)
beholding to beholden {Caesar 111.ii.65, 67)
befal'n oi to befall'n {Errors i.i.124)
bufineffes to bufinefs (collective) {All's Well i.i.193)
catcht to caught {Coriola^iiis i.iii.62)
converting of to converting {Henry VIII i.iii.43)
county to count {AlFs Well 111.vii.22)
curtefies to curtfies {Caesar iii.i.36)
denay'd to deny'd (2 Henry VI i.iii.102)
dexterioufly to dexteroufly {Twelfth Night i.v.55)
difpurfed /o disburfed (2 Henry K/iii.i.117)
(Kow) do you to (How) do you do {Tivelfth Night iii.iv.91. Win-
ter s Tale 1v.iii.105)
exufflicate to exufiflicated {Othello Iii.iii.i86)
handkercher(s) to handkerchief (s) {As Yon Like It v.ii.25, Corio-
lanus ii.i.254)
Happily to Haply {Hamlet 11.ii.380)
his to its {2 Henry IV i.ii.iii)
If cafe to In cafe (j Henry VI v.iv.34)
ingrateful(l to ungrateful {Twelfth Night v.i.71, John v.vii.43)
kick-shawses to kick-shaws {Twelfth Night i.iii.108)
lyen to lain {John iv.i.50)
mine to my {Much Ado iii.i.107, Labour's v.ii.439, John in. i. 102,
J Henry VI 11. v. 83, Timon i.ii.215, 111.ii.57, Macbeth v.iii.48, Lear
i.iv.68)
moe to more {John v.iv.17, Timon 1v.iii.431)
nor. ..nor to not. ..nor {Measure iv.iii.120, Romeo Ii.ii.40)
not. ..not to not. ..nor {Twelfth Night v.i.320)
on's to o's {Coriolaniis i.iii.66, 11.ii.79)
ope to open {Coriolaniis iii.i.138)
ought to ow'd {i Henry /Fiii.iii.134)
ow'd to own'd {2 Henry IV i.ii.4)
peyfed to poyfed {John ii.i.575)
plot to plat {Dream ni.i.3)
pound (plural) to pounds {Hamlet Ii1.ii.281)
INTELLIGIBLE: STYLE: A 365
Sometime to Sometimes {Dream iii.i.98, Winter s Tale i.ii.254,
2 Henry I'/ 11i.ii.373, 374, Timon ii.n. 111)
Surname to Sir-name {Coriolanus iv.v.68, 71, v.iii.170)
Targes to targets {Antony 11.vi.39, Cymheline v. v. 5)
thine to thy {John ill. i. 56, i Henry /Fii.ii.42)
thorough to through {Dream 11. i. 106)
throughly to thoroughly {Mitch Ado iv.i.200)
troth to truth {Cymbeline v.v.274)
unwares to unawares (j Henry VI ii.v.62)
vehemency to vehemence {Merry Wives 11.ii.214)
victuall to victuals {Much Ado i.i.41)
voluntaries to volunteers {John ii.i.67)
year (plural) to years {As Yon Like It 111.ii.298, v.ii.56, Romeo
i.iii.2)
whiles to while {Troilus 1v.iv.102); to whil'Il {2 Henry TV iii.
ii-347)
B. Synonyms, equivalent idioms, and alternate forms of the same
word are substituted.
F3: A heavineffe that's gone.
F4: An heavinefs that's gone.
Tempest v.i.200
ISee also Labour's 11. i. 144, 2 Henry IV iv.i.102, Richard III 1v.iv.41, Romeo ni.iii.
123, v.iii.269, Caesar i.i.50, n.i.319.]
F3: her huf- 1 band. ..comes me in the inllant of our encounter,
F4 : her huf- 1 band. ..comes in the inftant of our encounter
Merry Wives iii.v.65
F3: and there's her thrum'd Hat, and her Muffler | too:
F4: and there's her thrumb Hat, and her Muffler | too;
Merry Wives iv.ii.66
F3: Come on a Godsname, once more toward ou[r] Fathers.
F4: Come on a Gods name, once more towards our Fathers.
Shreiv iv.v.i
F3: Even till that utmoft corner of the Weft
F4: Even till that outmoft Corner of the West
John ii.i.29
F3: The peace of heaven is theirs that lift their fwords
F4: The peace of Heaven is theirs who lift their Swords
John ii.i.3S
F3: You cannot but forbear to murther me:
F4: Ye cannot but forbear to murther me:
2 Henry VI iv.vii.68
[See also Titus v.ii.i66.]
366 CHANGES IN THE FOURTH FOLIO
F3: Troy yet upon his bafis had been down,...
But for thefe inftances.
F4: Troy, yet upon her Bafis, had been down,
Troilus i.iii.75
F3: they will almoft.
Give us a Prince of blood, a Son of Priam,
F4: Give us a Prince o'th' blood, a Son of Priam,
Troilus Iii.iii.26
F3: now arriving
A place of Potency, and fway o'th'State
F4: At place of Potency, and fway o'th' State,
Coriolanus 11.iii.179
F3: The Cordial of mine age to glad my heart,
F4: The Cordial of mine Age, to glad mine Heart,
Titus i.i.i66
F3: his Majefty bad me fi-lgnifie to you,
F4: his Majefty bid me...
Hamlet v.ii.ioi
C. Attempts are made to reduce broken English, malapropisms,
and quibbles to sense.
F3: Ny7n. Be avis'd fir,
F4: Nym. Be advis'd, fir,
F3 : mine Hoft of | de Jarteer
F4: mine Hoft of de | Garter
Merry Wives i.i.150
Merry Wives i.iv.107
F3: Evan. ...theVioHsoi Readins,oi \ Maidenhead;
F4: Evan. ...the Hosts oi Reading., ...
Merry Wives iv.v.71
F3: But you have drunk | too much Canaries,
F4: But you have drunk | too much Canarie,
2 Henry IV ii. iv.26
F3: th'athver- |fary...is digt | himfelf four yard under the
Countermines:
F4: th' athver-|fary...is digt | himfelf four yards...
Henry V 1i1.ii.59
F3: Captain Jamy is a marvellous falorous Gen-|tleman,
F4: Captain Jamy is a marvellous valorous Gen-|tleman,
Henry V 111.ii.72
INTELLIGIBLE: STYLE: C 367
F3: Be it known unto thee by thefe prefence, even | the
prefence of Lord Mortimer,
F4: Be it known unto thee by thefe prefents,...
2 Henry VI 1v.vii.25
F3: It was my Dear,
And he that wounded her,
F4: It was my Deer,
Titus iii.i.91
F3: The Game was nere fo fair, and I am done.
Mer. Tut, dun's the Moufe,
F4: The Game was ne're fo fair, and I am Dun.
Mer. Tut, Dun's the Moufe,
Romeo Liv.39
F3: what fawcy Merchant was this that | was fo full of his
ropery?
F4: what fawcy Merchant was this that | was fo full of his
Roguery?
Romeo ii.iv.142
F3: Tender your felf more dearly;
Or. ..you'll tender me a fool.
F4: Or. ..you'll render me a fool.
Hamlet i.iii.109
D. The word-order is normalized.
[Since most of the words involved are short and unemphatic, failure of the com-
positor's memory may be a factor.]
F3: Hath caus'd to belch up you;
F4: Hath caus'd to belch you up;
Tempest in.iii.56
F3: That labour may you fave:
F4: That labour you may fave:
Errors iv.i.14
F3: I ask thee. ..what you lay to their | charge.
F4: I ask thee... What lay you to their | charge?
Much Ado v.i.2ii
[An assumed interrogative.]
F3: therefore is it moft expedient for the wife,
F4: therefore it is moft expedient for the wife,
Much Ado v.ii.72
F3: it is no fmall | happinefs therefore to be feated in the
mean,
368 CHANGES IN THE FOURTH FOLIO
F4: therefore it is no fmall | happinefs to be feated in the
mean;
Merchant i.ii.6-7
F3: Call not me flanderer,
F4: Call me not flanderer,
John ii.i.175
F3: (If thou didll this deed of death) art thou damn'd Hubert.
F4: (If thou did '11 this deed of death) thou art damn'd,
Hubert.
John 1v.iii.119
F3: Here ftand (my Lords) and fend difcoveries forth
F4: Stand here, (my Lords) and fend difcoveries forth,
2 Henry IV iv.i.3
F3: Duke of Anjon and Main, yet is he poor,
F4: Duke of Anjou and Main, yet he is poor,
I Henry VI v.iii.95
E. The spelling of proper names is altered to bring about greater
uniformity.
1. Historical personages.
Voices, Volcie(s to Volfcie(s (Coriolamis passim)
2. Geographical names.
Genowa to Genoua {Merchant ill. i. 85, 92)
3. Characters in the plays.
Bullinbrook(e, Bullingbrooke /o Bullingbrook (Richard //passim,
2 Henry IV iii.i.71)
Capel's to Capulet's {Romeo v.i.i8, v.iii.127)
Cressid(s to Cressida('s {Troilus i.i.30, 111.ii.199, 1v.ii.17)
Gloufters to Glofter's {Richard II i.i.ioo, 132)
Poynes to Poyns (/ Henry IV passim)
F. Changes are made apparently with the idea of carrying out
parallelism of construction.
F3: I will not go to day,
No, nor to morrow, not till I pleafe my felf,
F4: No, nor to morrow, nor till I pleafe my felf:
Shrew ill. ii. 205
INTELLIGIBLE: STYLE: F 369
F3: confidently feems to | undertake this bufinelTe, which he
knowes is not to be | done, damnes himfelf to doe, and dares better
be damn'd | then to do't.
F4: ...damns himfelf to do't,...
Airs Well iii.vi.8o
F3: A ramping fool, to brag, and (lamp, and fwear,
F4: A ramping Fool, to brag, to llamp, and fwear,
John Iii.i.i22
F3: be it either
For death, for fine, or Banifhment; then let them
If I fay Fine, cry Fine;
F4: For Death, for Fine, or for Banifhment, then let them,
Coriolanus 11i.iii.15
F3: Out you green ficknefs carrion, out you baggage,
You tallow face.
F4: Out you Tallow-face.
G. Contractions are expanded.
Romeo iii.v.157
a to of (All's Well i.iii.38); to on (Hamlet 1i.ii.383)
'em to them (All's Well iv.iii.235. Twelfth Night 11. v. 130, Caesar
ii.i.76, II. i. 177, II. i. 298, Lear Ii.iv.121)
Go(o)d den to Good-e'en (Coriolanus ii.i.87, Titus iv.iv.42-3,
Romeo i.ii.56)
God(g)igoden to God gi' Good-e'en (Romeo i.ii.57, iii.v.172)
ha to have (Coriolanus i.i.223, Timon 11.ii.52)
(fal)'n to en (Henry VIII 111.ii.413)
nere, nev'r to never (Richard II Ii.ii.143, Timon i.ii.91, ill. i. 28,
Macbeth i.ii.21)
're to are (Winter's Tale iii.iii.ii6)
(unmast)red to ered (Hamlet i.iii.32)
'rt to art (Winter's Tale 111.iii.54)
's to is (Shrew i.i.io6. Twelfth Night ii.iii.155. Winter's Tale iii.
ii.55. III. iii. no. III. iii. 114, v. iii. 128, Richard III i.iii.i, Lear i.iv.98)
'ft to eft (John i.i.228, Henry VIII v.i.65, Antony v.i.12)
't to it (Much Ado i.i.6i. As You Like It iv.i.146. Shrew ii.i.13,
All's Well u.'i.2g, Winter's Ta/g ii.ii.32, j Henry F/ iii.ii.io8, Timon
i.ii.145, Macbeth iv.iii.i8o, Lear i.iv.128, Othello 111.iii.343, Antony
ii.vi.6)
th' to they (Henry VIII i.iv.54)
y' to ye (Timon i.i.i)
370 CHANGES IN THE FOURTH FOLIO
MISTAKEN AND ARBITRARY CHANGES
I. Thought
A. Fancied inconsistencies of fact and circumstance are corrected.
F3: Even in the after-noon of her beft dayes,
F4: Even in the after-noon of her beft day,
Richard III iii.vii.i86
F3: I have remem- 1 bred me, thou'fe hear our counfel.
F4: I have remem- 1 bred me, thou'fe hear my Counfel:
Romeo i.iii.io
[The speaker is Lady Capulet.]
F3: for fo long
As he could make me with his eye, or ear,
Diftinguifh him from others,
F4: As he could make me with his eyes, or ear,
ME: As he could make me with this eye or ear, (Theobald)
Cymbeline i.iii.9
B. Alterations are made in passages where the reviser's unfamiliar-
ity with a word, or the sense in which it is used, has caused him to
fancy the text corrupt.
F3 : Oh villanie.' that fet down among her vices.'
F4: Oh villain! that fet down among her Vices!
Gentlemen iii.i.325
F3 : Let me hear you fpeak farther ;
F4 : Let me hear you fpeak, father :
Measure in.i.201
F3: I am compar'd to twenty thoufand faires.
F4: I am compar'd to twenty thoufand fairies.
Labour's v.ii.37
F3 : and fo | grow on to a point.
F4: and fo I grow on to appoint.
Dream i.ii.8-9
F3: Thou, Richard, fhalt to the Duke of Norfolk,
F4: Thou, Richard, fhalt be Duke of Norfolk,
J Henry VI i.ii.38
F3: Warwick and the reft cry all, Warivick, Warwick, \ and fet
upon the Guard, who flye, crying, Armey Arme, \ Warwick and the
refl following them.
F4: ...crying. Arms, Arms,...
J Henry VI 1v.iii.27 s.d.
MISTAKEN: THOUGHT: B 371
F3: Not my deferts, but what I will deferve:
F4: Not my defires, but what I will deferve:
Richard III 1v.iv.41 5
F3: Short bliftred Breeches, and thofe types of Travell;
F4: Short bolftred Breeches, and thofe types of Travel;
Henry VIII i.iii.31
F3: Oh Gods will, much better
She ne're had known pomp;
F4: O' Gods will, much better
Henry VIII ii.iii.12
F3: we mufl follow | you, right worthy you Priority.
F4: we muft follow | you, right worthy your Prioritie.
Coriolanus i.i. 244-5
F3: Be Candidatus then, and put it on,
F4: Be Candidates then, and put it on.
Tikis I.i. 1 85
F3: Sennet. Exeunt. Manet Brut. &" Caff.
F4: Senate. Exeitnt. Manent Brut. &° Caf
Caesar i.ii.24 s.d.
F3: Which out of ufe, and ftal'd by other men
F4: Which out of ufe, and ftall'd by other men
Caesar iv.i.38
F3: Octavius, lead your Battel foftly on
Upon the left hand of the even field.
F4: Upon the left hand of the evil Field.
Caesar v.i.17
F3: The hand of death hath raught him.
F4: The hand of death hath caught him.
Antony 1v.ix.29
C. The text is changed apparently in accordance with a misinter-
pretation of an image or idea.
F3: The general fubject to a wel-wifht King
Quit their own part,
F4: The general fubjects to a well-wifht King,
Measure 11.iv.27
F3: You hear, Count Claudio, I can be fecret as a | dumb man,
F4: You hear, Count Claudio, I cannot be fecret as a | dumb
man,
Much Ado I.i. 1 80
372 CHANGES IN THE FOURTH FOLIO
F3: Then will fhe get the upfhoot by cleaving the Pin
F4: Then will fhe get the upfhot by cleaving the Pin.
Labour's iv.i.129
F3: Write Lord have mercy on us, on thofe three,
F4: Write Lord have mercy on us, and thofe three,
Labour's v.ii.419
F3: All's well that ends well, ilill that fines the Crown;
F4: All's well that ends well, ftill, that finds the Crown;
All's Well 1v.iv.35
F3: I I wear not motley in my brain:
F4: I I were not motley in my brain;
Twelfth Night i.v.51
F3: Or overthrow incureable enfues.
F4: Or overthrow incurably enfues.
John v.i.i6
F3: Where nothing but the found of Ilotf pur's Name
Did feem defenfible:
F4: Did feem fenfible:
2 Henry IV 11.iii.38
F3: who cannot fee many a fair | French City for one fair
French Maid that ftands in my | way.
F4: ...for one fair French Maid; for that ftands in my | way.
Henry V v.ii.313
F3: Henry doth claim the Crown from John of Gaunt,
The fourth Son, York claims it from the third:
'Till Lyonel's iffue fails, his fhould not Reign.
F4: 'Till Lyonel's iffue fail,, he fhould not Reign.
2 Henry VI ii.ii.56
F3: No, not a man comes for redreffe of thee:
F4: No, not a man comes for redrefs to thee:
J Henry VI iii.i.20
F3: I am forry
To hear this of him; and could wifh he were
Something miftaken in't.
F4: To hear this of him; and could wifh you were
Henry VIII i.i.194
F3: There have been Commiffions
Sent down among'em, which hath flaw'd the heart
Of all their Loyalties;
F4: Sent down among 'em, which have flaw'd the heart
Henry VIII i.ii.21
MISTAKEN: THOUGHT: C 373
F3: How eagerly ye follow my Difgraces
As if it fed ye,
F4 : How eagerly ye follow my Difgrace
Henry VIII Iii.ii.240
F3: I am glad
I came this way fo happily.
F4: I came this way fo haply.
Henry VIII v.ii.g
F3: Now let hot i^tna cool in Sicily,
And be my heart an ever-burning hell :
F4: And be my heart in ever-burning Hell:
Titus III. i. 243
F3: For every minute is expectancy
Of more Arrivancy.
F4: Of our Arrivancy.
Othello ii.i.42
D. Attempts are made to clarify the meaning or syntax, frequently
by rendering it more literal.
F3: Will you fend him Miflris redemption, the money in his
F4: Will you fend him Miftris Redemption, the money in his
desk?
desk?
Errors iv.ii.46
[Rowe, Pope, Theobald follow F4. See Cambridge note VI.]
F3: We have not fpoke us yet of Torch-bearers.
F4: We have not fpoke as yet of Torch-bearers.
Merchant ii.iv.s
F3: and loves to live tth Sun,
F4: and loves to lye i'th Sun,
As You Like It 11. v. 3 5
F3: I, with thefe Criftall beads heaven fhall be brib'd
F4: I, with thefe fad Cryflal Beads Heaven fhall be brib'd
John ii.i.171
F3: No, for we were Subjects, but while you were King.
F4: No, for we were Subjects but while you were a King.
J Henry VI iii.i.8o-i
F3: O remember God,
To hear her prayer for them, as now for us:
And for my Sifler, and her Princely Sons,
Be fatisfi'd, dear God, with our true bloud,
374 CHANGES IN THE FOURTH FOLIO
F4: As for my Sifter, and her Princely Sons,
Richard III 111.iii.20
F3: We may out-run
By violent fwiftneffe that which we run at;
And lofe by over-running:
F4: And lofe by our over-running:
Henry VIII i.i.143
F3: Volum. Oh, he is wounded, I thank the gods for't.
Menen. So do I too, if it be not too much:
F4: Menen. So do I too, if he be not too much:
Coriolaniis ii.i.115
F3: This Enemie Town
F4: This Enemy's Town
Coriolaniis 1v.iv.24
F3: With Ilecates Ban, thrice blafted, thrice infected,
F4: With Ilecates Bane, thrice blafted, thrice infected,
Hamlet 111.ii.252
F3: What make you from home?
F4: What makes you from home?
Othello III. iv. 170
II. Action
A. Stage-directions are arbitrarily emended.
F3 : Actus Quintus.
F4: Scena Quarta.
Shreiv v.ii.i
III. Meter: Verses are lengthened or shortened to improve
their rhythm.
F3: No, fai'ft me fo, friend? What Countreyman?
F4: No, fayeft me fo, friend? What Countreyman.?
Shrew I.ii.i86
F3: Upon a Parchment, and againft this fire
Doe I f brink up.
F4: Upon a Parchment, and againft this fire do I fhrink up.
John v.vii.33-4
F3: What Scene of death hath Roffius now to act?
F4: What Scene of Death hath RoJJius to act?
3 Henry VI v.vi.io
MISTAKEN: METER 375
F3: Which well appeared in his Lineaments,
F4: Which well appear'd in his Lineaments,
Richard III ill. v. 91
F3: Lavinia will I make my Emprefs,
F4: Lavinia will I make my Emperefs,
Titus i.i.240
F3: And haft a thing within thee called Confcience,
F4: And haft a thing within thee call'd Confcience,
Titus v.i.75
F3: Shall I be married then to morrow morning?
F4: Shall I be married to morrow morning?
Romeo 1v.iii.22
IV. Grammar
A. Supposed inconsistencies are corrected.
1. Tense and/or mood of verbs.
F3: Give us kind keepers, heavens: what were thefe?
F4: Give us kind keepers, heavens: what are thefe?
Tempest 111.iii.20
F3: Now bleffe thy felf; thou met' ft with things | dying, I
with things new born.
F4: Now blefs thy felf; thou meet' It with things | dying,...
Winter's Tale 111.iii.109
F3: Enter a Son that hath kilVd his Father \ ...and a Father
that hath kilVd his Son
F4: Enter a Son that had kiWd his Father... \ and a Father
that had kilVd his Son
J Henry VI ii.v.54 s.d.
F3: Tis pitty Bounty had not eies behind,
F4: 'Tis pity bounty has not eyes behind,
Timon i.ii.158
F3: A Roman thought hath ft ruck him.
F4: A Roman thought had ftruck him.
Antony i.ii.80
2. Number of verbs.
F3: The beauty that is born here in the face,
The bearer knows not, but commends it felf.
Not going from it felf: but eye to eye oppos'd.
Salutes each other, with each others form.
376 CHANGES IN THE FOURTH FOLIO
F4: Salute each other, with each others form.
Troiliis iii.iii.io8
3. Number of nouns and pronouns.
F3: Here is the Cate-log of her Condition.
F4: Here is the \ Cate-log of her Conditions:
Gentlemen in. i. 271
F3: I had my | felf notice of my Brothers purpofe herein, and
have by | under-hand meanes laboured to diffwade him from it;
F4: ...to diffwade them from it;
As You Like It i.i.126
F3: Bugle-Bracelet, Neck-lace Amber,
F4: Bugle-Bracelets, Neck lace Amber,
Winter's Tale 1v.iv.219
4. Case.
F3: all this...
Was born fo like a Souldier, that thy cheek
So much as I lank'd not.
F4: Was born fo like a Souldiers, that thy cheek
A7itony i.iv.70
B. Words considered necessary to completeness of sentence struc-
ture are inserted.
F3: Clo. But what is the fport...that the Ladies | have loft?
Le Beu. Why this that I fpeak of.
F4: Le Beu. Why this is that I fpeak of.
As You Like It i.ii.120
F3: Have you laid fair the Bed? are all things well,
F4: Have you laid fair the Bed? and are all things well,
2 Henry VI iii.ii.ii
agam
again
F3: and o-|ver and over he comes, and up again: catcht it
F4: and over and over he comes, and up again, and caught it |
Coriolanus i.iii.62
V. Style
A. Verbal substitutions are made.
I. For the sake of euphony.
F3: Is of that nature, that to your huge ftore
Wife things feem foolifh.
MISTAKEN: STYLE: A 377
F4: Is of that nature, as to your huge llore
Labour s v.ii.377
2. For the sake of uniformity.
F3: I think a cannot.
F4: I think I cannot.
Much Ado 111.iii.71
F3: Is this a Holiday? What, know you not
F4: Is this a Holy-day? What, know you not
Caesar i.i.2
[To match i.i.50 opposite it in the text.]
3. For the sake of emphasis.
F3: Shall / bring thee on the way?
F4: Shall I bring thee on thy way?
Winter's Tale 1v.iii.109
F3: And here I draw a Sword,
W^hofe worthy temper I intend to ilain
F4: And here I draw my Sword,
/ Henry IV v.ii.93-4
F3: Steel, if thou turn the edge,
F4: Steel, if thou turn thine edge,
2 Henry VI iv.x.54
F3: When Devils will the blackeft fms put on,
F4: When Devils will their blackeft fms put on,
Othello 11.iil.340
4. Apparently with the idea of improving the diction by insert-
ing a more usual — perhaps, in the reviser's mind, a more exact —
expression.
F3: We wifh your peace.
F4: We wifh you peace.
Tempest iv.i.163
F3: Doe not infeft your mind, with beating on
The ftrangeneffe of this bufmeffe,
F4: Do not infect your mind with beating on
Tempest v.i.246
F3: Now, when the Lords and Barons of the Realm
Perceiv'd Northiimherland did lean to him,
The more and leffe came in with Cap and Knee,
378 CHANGES IN THE FOURTH FOLIO
F4: They more and lefs came in with Cap and Knee,
/ Henry IV iv.iii.68
F3: Rend 'ring faint quittance (wearied, and out-breath 'd)
F4: Rend 'ring faint acquittance (wearied and out-breath 'd)
2 Henry /Fi.i.108
F3: And were I any thing but what I am,
I would wifh me only he.
F4: I could wifh me only, he.
Coriolanus i.i.225
F3: Enter Coriolanus... The \ Commoners being with him.
F4: ... I Commons being with him.
Coriolanus v.vi.71 s.d.
F3: So tell him with the occurents more and lefs,
F4: So tell him with the occurrents more or lefs,
Hamlet v.ii.349
F3: Did gibe my Miffive out of audience.
F4: Did beg my Miffive out of audience.
Antony Ii.ii.78
B. A foreign plural is wrongly corrected.
F3: O, a Cherubin
Thou was't that did preferve me;
F4: Ola Cherubim
Tempest i.ii.152
C. Proper names, and the spellings of proper names, are arbi-
trarily altered.
1. Historical personages.
Abram to Abraham {Merchant i.iii.67, 155)
Bullinbrooke to Bullinbrook {Richard II iii.i.i)
Machevill to Matchevil (3 Henry VI 111.ii.193)
Woodville to Woodvil {Richard III i.i.67)
2. Geographical names.
Genowa to Geneva {Merchant iii.i.68)
Ryalto to Royalto {Merchant i.iii.i8)
Theffalian to Theffalonian {Dream iv.i.119)
3. Characters in the plays.
Lartius to Lucius {Coriolanus throughout)
Silvius to Silvia {Antony Ii.i.i8)
Appendix
COTGRAVE AND POOLE AS EDITORS OF SHAKESPEARE
At p. 24 we have mentioned John Cotgrave and Joshua Poole,
the compilers of two mid-seventeenth-century collections of com-
monplaces, who in quoting from Shakespeare's works took certain
liberties with the text, including some which are virtually editorial
revisions. Their attitude, we have contended, is typical of their
time, and we give here some details of their textual alterations to
demonstrate (i) that they showed no hesitation in manipulating the
text to suit their own purposes and (2) that in doing so they made
many changes of precisely the same kinds as the editors of the later
folios. This attitude, to be sure, is likewise assumed by earlier an-
thologists and compilers, such as the editor of England's Parnassus
(1600), but we believe that the methods of Poole and Cotgrave are
more particularly relevant to our study because they show two
identifiable men of letters, nearly contemporary with F3, scrutinizing
and trying to improve the text of Shakespeare in much the same
way as the anonymous editors of the folios. If, as Professor Kit-
tredge says, speaking of the later folios, "it is comforting, at times,
to know how a corrupt passage looked to a proofreader of the early
seventeenth century," it is also interesting to see how the text of
Shakespeare, in corrupt and incorrupt passages, looked to a mid-
seventeenth-century man of letters or, at least, an assiduous reader
of poetry.
The English Parnassus : Or, a helpe to English Poesie . . . by Josua
Poole. M. A . Clare Hall Camh. (1657, second edition 1677) is the work
of a schoolmaster of whom next to nothing is known except what can
be gleaned from the book. Besides "The preface, Being a short
Institution of English Poesie," it contains (i) a riming dictionary,
(2) lists of adjectives grouped under the nouns to which the com-
piler considers them appropriate* (pp. 43-228), and (3) lists of quo-
tations likewise grouped under headings arranged alphabetically
(e.g., Abel, Abortive, Abraham, Abfolom, Abftemious, Abfurd
things indecently joyned). Most of these quotations are very short
and indeed are often no more than epithets or short attributive
word-groups; this section is really no more than a dictionary of
* E.g.,
A hbey.
Rich, wealthy, cloyfterd, monkifh, religious, old, antient.
379
380 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
phrases. Altogether it must contain more than five thousand quota-
tions, and we have made no attempt to trace them to their sources
(of which Poole gives a list) or even to find all the quotations from
Shakespeare among them. It is plain, however, on every page that
Poole helps himself to the wise saws of his authors with a liberal
hand: he not only cuts up their verses into very small bits but also
runs together two or more extracts at will. Thus after quoting
Twelfth Night ii.iv.113-4, he goes right on as if still quoting Shake-
speare as follows :
Sitting like patience on a monument,
Smiling at grief, uninterefted in the worlds affairs:
That onely lives, to learn well how to die.
Under Beautifull (a section of eight pages) he prints:
The withered Hermit, fourfcore winters worn,
Might fhake off fifty looking in her eye.
Such beautie in her face.
As once the daughter of Agenor had.
That made great Jove humble him to her hand.
When on bis [sic] knees he kift the Cretan strand
Fram'd in the prodigality of nature.
Where every God did feem to fet his feal.
To give the affurance of a beauty
Beggering all defcription.
Takes prifoner the wild motions of the eye
The first two lines of this hodge-podge are Labour's iv.iii. 238-9;
the next four are Shrew i.i.162-5; the seventh comes from Richard
III (i.ii.243); the eighth and ninth are a perversion of Hamlet
III. iv. 61-2 ("Where every god did seem to set his seal | To give the
world assurance of a man:"); the tenth is derived from Antony
1i.ii.203 ("It beggar'd all description"); and the last from Cym-
beline i.vi.102 ("Takes prisoner the wild motion of mine eye").
Quoting the Archbishop of Canterbury's speech on the economy
of the bees (Henry V i.ii. 188-204), Poole omits one entire line (190),
changes boot (1. 194) to booty, majesty (1. 197) to majefties, his (1. 201)
to the, and executors pale (1. 203) to executioners , and reduces the
punctuation to chaos.
Just how this procedure was intended as "a helpe to English
Poesie," whether to the understanding or the writing of it, or both,
is not clear. At any rate, it is clear that Poole had no superstitious
respect for Shakespeare's text, that he felt free to manipulate it to
suit his own purposes and to alter it when he found it obscure, old-
fashioned, or in bad taste. As his corrections and improvements do
APPENDIX
381
not parallel those of the folio editors so closely as do Cotgrave's, we
need say no more about him.
Of the compiler of The English Treasury of wit and language,
collected Out of the most, and best of our English drammatick poems;
Methodically digested into common places For Generall Use. By John
Cotgrave Gent. (1655) next to nothing is known, although another
book which he published in the same year, Wit's Interpreter: the
English Parnassus, is moderately well known for the songs it con-
tains. Like many similar collections, the English Treasury was no
doubt intended both for stocking the reader's mind with the "flow-
ers" of the dramatic poets and for prompting his utterance when he
undertook self-expression. It includes not less than 142 quotations
from Shakespeare, distributed as follows:
Tempest .
Gentlemen
Measure .
Errors
Much Ado
Labour's .
Merchant
As You Like It
All's Well
Twelfth Night
Richard II
1 Henry IV
2 Henry IV
Henry V .
Henry VIII
Troilus
Coriolanus
Romeo
Timon
Caesar
Macbeth .
Hamlet
Lear .
Othello
Antony
Cymbeline
Pericles
Quotations Lines
I 6
2
13
9
88
I
2
8
49
I
8
10
92
5
64
5
24
3
12
2
5
4
29
3
39
5
23
6
21
9
92
5
48
I
7
II
68
7
56
5
20
16
90
5
19
6
40
2
6
5
18
5
17
142
956
382 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Cotgrave arranges his quotations under headings ("Of Action,"
"Of Adversity, Affliction," "Of Adultery," "Of Apparell") and
separates one quotation from another by a page-wide rule. To make
his quotations self-contained and self-explanatory, he often takes
innocent liberties with them. Quoting, for example, from Measure
II. ii. 100-4, Angelo's answer to Isabella's appeal ("Yet show some
pity") which begins "I show it most of all when I show justice,"
Cotgrave makes the first line read "Mercy I fhew moll when I
juflice fhew." Quoting Caesar's characterization of Cassius {Caesar
i.ii. 192-21 2), he changes "he loves no plays" to "he loves no fports,"
evidently feeling that, under the Commonwealth, an allusion to
plays was untimely. He often alters words which refer to the situa-
tion or characters of the play, in such a way as to convert the pas-
sage into a maxim of general application.
F2: Macb. ...And be thefe lugling Fiends no more beleev'd,
C: Oh let thefe juggling fiends never be credited,
Macbeth v.viii.19 (C. p. 84)
F2: lago. Oh, beware my Lord, of jealoufie,
C: Beware of jealoufie,
Othello Iil.iii.169 (C. p. 139)
Sometimes he also effaces proper names for the same reason : a re-
markable instance occurs in his quotation from i Henry IV (iv.i.
1 1 2-21) of Hotspur's bloodthirsty vaunt before the battle ("Let
them come; They come like sacrifices"). Here, for the last line of
Come, let me taste my horse,
Who is to bear me like a thunderbolt
Against the bosom of the Prince of Wales,
Cotgrave improvises as a substitute "Gainft the moft flout oppofers"
(p. 283). His moral bias is again evident in his changing the pagan
sentiment of Caesar i.iii.54-6.
It is the part of men to fear and tremble
When the most mighty gods by tokens send
Such dreadful heralds to astonish us,
to the Christian "When the moft mighty God, by tokens, fends"
(p. 238), It also suited his purpose, or his fancy, to print all his ex-
tracts as verse, or something that looks like verse, although many of
those from Shakespeare were taken from prose passages.
What text Cotgrave used — save in a few passages — is impossible
to say. Clearly he quoted from quartos as well as from F2 and prob-
ably Fi. He gives five selections from Pericles, which in 1655 existed
only in quarto. He quotes a few passages from Hamlet which appear
APPENDIX 383
in none of the folios, and must therefore have had a copy of some
quarto of that play; on the other hand, other quotations from
Hamlet come closer to the folio than to the quarto version. He may
also have used a quarto of Merchant. For some passages he un-
doubtedly used F2: the clearest example is probably Coriolaniis
i.iii.40-4 (Cotgrave p. 282), where he agrees perfectly with F2,
which here differs radically from Fi (see p. 177). In other instances,
however, his text is closer to Fi than to F2 and may derive from it.
After all, Cotgrave was a man of letters, or at least a reader; very
possibly he had a library; possibly, too, he copied extracts from
books belonging to his friends into the commonplace book on which
his printed compilation is based. In the citations below, we compare
his readings with those of F2 on the assumption that this was the
text he was most likely to use. In doing so, however, we do not imply
that, at times, he may not equally well have quoted from Fi or a
quarto.
In order to make clear the similarity of Cotgrave 's point of view
toward the text and of his methods of emending it to those of the
folio editors , we shall consider a few representative quotations from
his anthology. In the first place, we find a few alterations of the kind
that, when made by a folio editor, we call adopted. In other words,
Cotgrave sometimes seizes on a real defect in the text and emends it
in the way which many modern editors accept. Thus he actually
anticipates the eighteenth- and nineteenth-century editors who
usually receive credit for these corrections; he hits on several neces-
sary and valid emendations years — sometimes many years — before
their incorporation into the received text. In the following examples
we print, first, the text of F2, then Cotgrave 's version; the name in
parentheses after Cotgrave 's reading is that of the edition or editor
hitherto supposed to have first adopted the change.
I. Thought.
For thine owne bowels which doe call thee, fire
The meere effufion of thy proper loynes,
Doe curfe the Gout, Sarpego, and the Rheume
For ending thee no fooner.
For thy own bowels which do call thee fire, (F4)
Measure iii.i.29 (C. p. 174)
How like a yonger, or a prodigall
The skarfed barke puts from her native bay,
Hug'd and embraced by the ftrumpet winde:
How like a Yonker, or a Prodigall (Rowe)
Merchant 11.vi.14 (C. p. 76)
384 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
F2: place, riches, favour,
Prizes of Accident, as oft as merit.
Which when they fall (as being flippery ftanders)
The love that leand on them as flippery too,
Doth on plucke downe another, and together
Dye in the fall,
C: The loves that lean'd on them, as flippery too.
Do one pluck down another, and together (Hanmer)
Troilus iii.iii.86 (C. p. 118)*
F2: Why this is the worlds foule.
And juft of the fame peece
Is every Flatterers fport: who can call him his friend
That dips in the fame difh?
C. : Is every flatterers fpirit. Who can call him friend (Theobald)
Timon 111.ii.64 (C. p. 148)
F2: Enob. ...when valour prayes in reafon,
It eates the Sword it fights with:
C: When valour preys on reafon, it does eat (Rowe)
Antony 111.xiii.199 (C. p. 282)
II. Meter.
F2: She would fweare the gentleman fhould be her fifter:
C: She'd fwear the Gentleman fhould be her fifter: (Pope)
Much Ado III. i. 62 (C. p. 81)
III. Grammar.
F2: The Lawes, your curbe and whip, in their rough power
Ha's uncheck'd Theft.
C: Have uncheck'd Theft. (Pope)
Timon 1v.iii.442 (C. p. 274)
IV. Style.
F2: If low, an agot very vildlie cut:
C: If low, an Agat very vilely cut: (Pope) —
Much Ado III. i. 65 (C. p. 81)
F2: To call them Wollen Vaffailes, things created
To buy and fell with Groats, to fhew bare heads
C. : I call them woollen Vaffailes, things created (Rowe)
Coriolanus iii.ii.9 (C. p. 219)
* In this passage Cotgrave makes three changes which, according to our system of
classification, fall under three different heads. The change of love to loves is not adopted
by most modern editors, but has been proposed by Seymour and adopted by Keight-
ley, and is therefore similar to the other anticipated emendations on p. 387. In mak-
ing it, however, Cotgrave entailed upon himself the change of Doth to Do, an adopted
emendation of Hanmer, but evidently made by the latter for the sake of agreement
with they, since he allows love to stand. On>one is a restoring change; see note,
p. 385.
APPENDIX 385
F2: The Art of our Neceffities is ftrange,
And can make vilde things precious.
C: And can make vile things precious. (Pope)
Lear 111.ii.71 (C. p. 202)
V, Punctuation.
F2: No ceremony that to great ones longs,
Not the Kings Crowne; nor the deputed fword,...
Become them with one halfe fo good a grace
As mercy does:
C. : No ceremony that to great ones 'longs, (Theobald)
Measure 11.ii.59 (C. p. 193)
We also find a number of changes of the kind that, when found in
the later folios, we have called restoring. In other words, instead of
that of F2, Cotgrave sometimes follows the reading of a quarto or of
Fi. Whether these readings are really Cotgrave 's emendations or
whether they simply indicate that sometimes he used an earlier
text instead of F2 we cannot certainly determine. Consequently we
print below only a few passages in which he reverts to a quarto
reading. There are many more in which he reverts to Fi,* and if
these readings are his own they speak well for his alertness and in-
genuity; but in view of the fact that a copy of Fi could very well have
been available to him, it cannot safely be assumed that he is re-
sponsible for them.
I. Thought.
F2: As who fhould fay, I am fir an Oracle,
And when I ope my lips, let no dogge barke.
C: As who fhould fay, I am fir Oracle,
Merchant i.i.93 (C. p. 191)
F2: now, in as low an ebbe | as the foot of the Ladder; and by and by in as
high a flow | as the ride of the Gallowes.
C: In as high a flow as the ridge of the Gallowes.
I Henry /Fi.ii.36 (C. p. 275)
F2: Send danger from the Eaft unto the Weft,
So Honor croffe in from the North to South,
And let them grapple:
C: So honour crofs it from the North to South
I Hejiry 7F1.iii.196 (C. p. 70)
* See his quotations from Gentlemen v.iv. 108 (p. 143), AlVs Well i.i.170 (p. 233),
Troilus \n.m.?)6 (p. 118), Timon ni.v.26 (p. 87), 27 (p. 87), 1v.ii.30 (p. 118), 1v.iii.440
(p. 274), Caesar 1v.ii.26 (p. 40), Cymbeline 1v.ii.2so (p. 208).
386 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
F2: And not a man for being fimple man,
Hath any honor; but honor'd by thofe honours
That are without him;
C: And not a man, for being fimply man,
Troilus lil.iii.8o (C. p. 118)
Fo: Oh thefe encounters fo glib of tongue,
That give a-coafting welcome ere it comes;
C: Oh thefe Encounterers, fo glib of tongue,
Troilus IV.V.58 (C. p. 291)
F2: Tis too much prov'd, that with Devotions vifage,
And pious Action, we doe furge ore
The divell himfelfe.
C: And pious Action, we doe fugar ore
Hamlet iii.i.48 (C. p. 82)
F2: When divels will the blackeft finnes put on.
They do fuggeft at firft with heavenly fhewes,
C: When Devils will their blackeft fins put on, (Q)*
Othello 11.iii.340 (C. p. 83)
F2: But oh, what damned minutes tels he ore.
Who dotes, yet doubts: Sufpects, yet foundly loves.?
C: Who dotes, yet doubts, fufpects, yet ftrongly loves?
Othello 111.iii.174 (C. p. 139)
II. Meter,
F2: Nor is not moved with concord of fweet founds,
C: Nor is not mov'd with concord of fweet founds.
Merchant v. 1. 84 (C. p. 200)
F2: Will fate it felfe in a Celeftiall bed, and prey on Garbage.
C: Which fate it felfe in a celeftiall Bed,
And prey on Garbidge.
Hamlet i.v.56-7 (C. p. 145)
III. Style.
F2: Whofe foules do beare an egal yoke of love,
C: Whofe foules do bear an equall yoak of love,
Merchant lii.iv.ii (C. p. 113)
IV. Punctuation.
F2: Why rather (Sleepe) lyeft thou in fmoaky Cribs,
Vpon uneafie Pallads ftretching thee,
And huifht with buffing Night, flyes to thy flumber.
Then in the perfum'd Chambers of the Great?
* Modern editors read the.
APPENDIX 387
Vnder the Canopies of coftly State,
And luU'd with founds of fweeteft Melody?
C: Then in the perfum'd Chambers of the great,
2 Henry /Fiii.i.12 (C. p. 262)
Two of Cotgrave's changes resemble those in our superseded
class, i.e., they replace an undoubted defect in the text but have
been set aside by modern editors for another substitute which, for
one reason or another, seems preferable to them. These are as fol-
lows :
I. Meter.
F2: Light feeking light, doth light beguile:
C: And light, by feeking light, doth light beguile.
ME: Light, seeking light, doth light of light beguile; (QFi)
Labour's l.i.77 (C. p. 171)
II. Grammar.
F2: For thou exifts on many a thoufand graines
C: For thou exifteft of many thousand grains
ME: For thou exist'st on many a thousand grains (Theobald)
Measure iii.i.20 (C. p. 174)
Many of Cotgrave's readings which are not those of most modern
editors are very interesting in that the identical changes occurred
independently to later editors and were adopted by one or a few of
them. Thus he anticipates some of the emendations of Rowe, Pope,
Theobald, Hanmer, and other editors, both eighteenth- and nine-
teenth-century. Such changes are the following:
I. Thought.
F2: For there was never yet Philofopher,
That could endure the tooth-ake patiently,...
How ever they have writ the ftile of gods,
And made a pufh at chance and fufferance.
C: And made a pifli at chance and fufferance. (Rowe)
Much Ado v.i.38 (C. p. 222)
F2: Who would be fo mock'd with glory, or to live
But in a Dreame of Friendfhip,
C: Who'ld be fo mock'd with glory, as to live (Rowe)
Timon iv.ii. 33 (C. p. 118)
F2: To have his pompe, and all what ftate compounds.
But onely painted like his varnifht Friends:
C: To have his pomp, and all that ftate compounds, (White)
Timon 1v.ii.35 (C. p. 118)
388 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
F2: Sufpect ftill comes where an eftate is leaft,
C: Sufpect ftill comes, when an eftate is leaft. (Hanmer)
Timon 1v.iii.514 (C. p. 237)
Fo: For if thou path, thy native femblance on,
Not Erebus it felfe were dimme enough,
To hide thee from prevention.
C: For if thou put'ft thy native femblance on, (Singer)
Caesar ii.i.83 (C. p. 280)
Fo: The Inftruments of Darkneffe tell us Truths,
VVinne us with honeft Trifles, to betrays
In deepeft confequence.
C: Win us with honeft trifles, to betray us (Rowe)
Macbeth i.iii.125 (C. p. 83)
II. Meter,
F2: Pro. Than men their minds? tis true, oh heauen, were
Man but conftant, he were perfect; that one errour
C: 2. Then men their minds? 'tis true, oh heaven, were man
But conftant, he were perfect, that one errour (Pope)
Gentlemen v.iv.iio-i (C. p. 143)
F2: Be abfolute for death: either death or life
C: Be abfolute for death or death or life, (Pope)
Measure iii.i.5 (C. p. 173)
F2'. Who would be fo mock'd with glory, or to live
C: Who'ld be fo mock'd with glory, as to live (Pope)
Timon 1v.ii.33 (C. p. 118)
III. Style.
F2: Lye hid moe thoufand deaths; yet death we feare
C: Lie hid more thoufand deaths, and death we fear, (Rowe)
Measure iii.i.40 (C. p. 174)
F2: O Gentlemen, the time of life is fhort;
To fpend that fhortneffe bafely, were too long.
If life did ride upon a Dials point,
C: Though life did ride upon a Dyals point (Rowe)
/ Henry /Fv.ii.84 (C. p. 283)
F2: And in the calmeft, and moft ftilleft Night,
C: And in the calmeft, and the ftilleft night, (Pope)
2 Henry 7F iii.i.28 (C. p. 262)
F2: How could Communities,
Degrees in Schooles, and brother-hoods in Cities,...
The Primogenitive, and due of Byrth,...
(But by degree) ftand in Authentique place?
C: The Primogeniture and due of birth, (Rowe)
Troilus i.iii.io6 (C. p. 209)
APPENDIX 389
F2: The fweeteft honey
Is loathlome in his owne delicioufnefre,
C: Is loathlome in its own delicioufnefre, (Rowe)
Romeo 11.vi.12 (C. p. 98)
F2: The charieft Maid is prodigall enough,
If fhe unmaske her beaty to the Moone:
C: The chafteft Maid is prodigall enough, (Anon.)
Hamlet i.iii.36 (C. p. 42)
F2: thefe three yeares I have taken note of it,
C: Thefe late years I have taken notice of it, (Q 1676)
Hamlet v.i.135 (C. p. 56)
Moreover, Cotgrave makes a number of corrections (not adopted
by modern editors) of the kind which we call intelligible. For ex-
ample, he attempts to make sense of one undoubtedly corrupt pas-
sage, without conspicuous success :
F2: He that trufts to you,
Where he fhould finde you Lyons, findes you Hares:
Where Foxes, Geefe you are; No furer, no.
Then is the coale of fire upon the Ice,
C: Where Foxes, Geefe you are; no Ufurer, no,
Coriolanus i.i. 168-71 (C. p. 218)
When he notices a line with more than ten syllables he tries to shorten
it to make it conform to the normal rhythm of blank verse:
F2: Thy death, which is no more. Thou art not thy felfe,
C: Thy death, which is no more. Th'art not thy felfe,
Measure iii.i.19 (C. p. 173)
F2: And truft no Agent; for beauty is a witch,
C: And truft no Agent: Beauty is a witch.
Much Ado II. i. 158 (C. p. 113)
He also fills out a line which lacks a syllable :
F2: And death unloads thee; Friend haft thou none:
C: And death unloads thee: Friends then haft thou none,
Measure iii.i.28 (C. p. 174)
Likewise, when he encounters a form no longer in current use he
substitutes a more modern form for it :
F2: Whiles we enjoy it;...
Whiles it was ours,
C: While we enjoy it,...
While it was ours.
Much Ado IV. i. 219, 222 (C. p. 92)
390 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
F2: Some that will evermore peepe through their eyes,
And laugh like Parrats at a bag-piper.
And other of fuch vinegar afpect,
C: And others of fuch Vinegar afpect,
Merchant i.i.54 (C. p. 98)
F2: And earthly power doth then fhew likeft Gods
C: And earthly power does then fhew likeft God,
Merchant iv.i.191 (C. p. 193)
F2: if I the interim be but a fennight,
C: If the Interim
Be but a feaven-night,
As You Like It 111.ii.297 (C. p. 275)
F2: And if we live, we live to tread on Kings:
C: If we do live, we'l live to tread on Kings;
I Henry /F v.ii.86 (C. p. 283)
F2: for my ftate,
Stands on me to defend, not to debate.
C: My eftate
Stands on me to defend, and not debate.
Lear v.i.68 (C. p. 92)
Sometimes he goes further and replaces a word used in an obsolete
sense with another which evidently seemed to him more suitable:
F2: O what a goodly outfide falfehood hath.
C: Oh what a beauteous outfide falfhood hath!
Merchant i.iii.97 (C. p. 83)
F2: it will bee | thought wee keepe a Bawdy-houfe Itraight,
C: it will be thought
We keep a Bawdy-houfe prefently.
Henry F ii.i.34 (C. p. 27)
He supplies the future auxiliary in a present tense used as future :
F2: And if we live, we live to tread on Kings: - —
C: If we do live, we'l live to tread on Kings;
I Henry /Fv.Ii.86 (C. p. 283)
In addition, he brings noun and verb into what he supposes to be
agreement in number :
F2: How fome times Nature will betray it's folly?
It's tenderneffe? and make it felfe a Paftime
C: Its tenderneffe, and makes it felfe a paftime
Winter's Tale i.ii.152 (C. p. 202)
F2: When that a ring of Greekes have hem'd thee in,
C: When as a Ring of Greeks has hemm'd thee in
Troilus IV. V. 193 (C. p. 283)
APPENDIX 391
F2: Whiles I threat, he lives:
Words to the heat of deeds too cold breath gives.
C: While I threat, he does live.
Words to the heat of deeds, too cold breath give.
Macbeth 11. i. 60-1 (C. p. 92)
(Here he also alters the end of the preceding line so as not to spoil
the rime.) He also corrects the case of a pronoun :
F2: lie tell you who Time ambles with- [all, who Time trots withall, who
time gallops withall,
C: ri tell you who time trots withall, who he
Ambles withall, whom he Gallops withall,
As You Like It 1n.ii.292 (C. p. 275)
and changes an adjective into an adverb :
F2: may fleep the | founder all the next day.
C: May fleep the foundlier all the next day:
Measure 1v.iii.43 (C. p. 85)
He changes a number of subjunctives to indicatives, e.g.:
F2: And other of fuch vinegar afpect,
That they'ill not fhew their teeth in way of fmile,
Though Nejtor fweare, the jeft be laughable.
C: Though Nejtor (wear, the jeaft was laughable.
Merchant i.i.56 (C. p. 98)
F2: I can eafier teach twen-|ty what were good to be done, then be one of
the twen- 1 ty to follow mine owne teaching:
C: Teach twenty what is good to be done, then be
Merchant i.ii.14 (C. p. 6)
F2: for though hee | goe as foftly as foot can fall, he thinkes himfelfe too
foone I there:
C: For though he goes as foftly as foot can fall.
As You Like It 1n.ii.307 (C. p. 275)
He also eliminates a few double negatives, e.g.:
F2: But no mans vertue nor fufificiencie
C: But no mans virtue or fufficiency
Mtich Ado v.i.29 (C. p. 6)
F2: Nor did not with unbafhfull forehead wooe,
C: Nor did I with unbafhfull forehead wooe.
As You Like It 11.iii.50 (C. p. 273)
He also makes a few changes in the use of prepositions which seem
to testify to changes in idiomatic usage:
F2: For thou exil'ts on many a thoufand graines...
Dreaming on both, for all thy bleffed youth
392 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
C: For thou exifteft of many thoufand grains...
Dreaming of both, for all thy bleffed youth
Measure iii.i.20, 34 (C. p. 174)
F2: For in my youth I never did apply
Hot, and rebellious liquors in my bloud,
C: Hot and rebellious liquors to my blood;
As You Like It 11.iii.49 (C. p. 273)
Occasionally he makes an arbitrary substitution of one form of the
same word for another, replacing 7nine with my {As You Like It
iv.i.15, C, p. 191; Merchant i.ii.15, C. p. 6), thme with thy {Measure
III. i. 29, C. p. 174), toward with toivards {Measure in.i.13, C. p.
173), and backivard with backwards {Much Ado ni.i.6i, C. p. 81).
We find also a number of changes comparable to those in the
folios which we call mistaken and arbitrary. They show that he
had no scruples against clarifying what he thought difficult or ob-
scure and improving what he thought defective. The liberties of this
kind which he takes are perhaps a little greater than those taken, as a
rule, by the editors of the folios.
For example, he tries to clarify or improve a number of passages
which he evidently misunderstood. The following changes are not
very ingenious and they are, from the modern editor's point of view,
quite unnecessary :
F2: Why all the foules that were, were forfeit once.
And he that might the vantage belt have tooke.
Found out the remedy:
C: And he that might the vantage once have took,
Measure n.ii.74 (C. p. 193)
F2: If they fhould fpeake, would almoft damme thofe eares
Which hearing them would call their brothers fooles:
C: With hearing them, would call their Brothers fools.
Merchant i.i.99 (C. p. 191)
F2: Impoffible be ftrange attempts to thofe
That weigh their paines in fence, and do fuppofe
What hath beene, cannot be.
C: Who hath been cannot be;
AlVs Well I.i.2i2 (C. p. 146)
F2: Mine eye too great a flatterer for my mind:
C: My eye too great a flatterer to my mind.
Twelfth Night i.v.293 (C. p. 94)
F2: To heare this rich reprizall is fo nigh,
And yet not ours.
C: And not yet ours:
I Henry 7Fiv.i.ii9 (C. p. 283)
APPENDIX 393
Frequently he runs foul of a word used in an uncommon or figurative
sense which he does not understand. One can sometimes sympathize
with him in his difficulty here, but of course he is really trying to
bring the text closer to the level of "him who can but spell," and
he deserves small thanks on that account.
F2: For then I pitty thofe I doe not know,
Which a difmis'd offence, would after gaule
C: Which a difguis'd offence would after gall.
Measure 11.ii.102 (C. p. 153)
F2: a breath thou art,
Servile to all the skyie-influences.
That dolt this habitation where thou keepft
Hourely afflict:
C: Subject to all the skj'ie Influences,
Measiire iii.i.g (C. p. 173)
Fo: I never yet faw man.
How wife; how noble, yong, how rarely featur'd,
But The would fpell him backward:
C: How wife, how noble, young, how fairly featur'd,
Much Ado ni.i.6o (C. p. 81)
F2: If fpeaking, why a vane blowne with all windes,
C: If fpeaking, why a fan, blown with all winds:
Much Ado in.i.66 (C. p. 81)
F2: Gratiano fpeakes an infinite deale of nothing,
C: He fpeaks a great deale of nothing.
Merchant i.i.114 (C. p. 91)
F2: And it is mervaile he out-dwels his houre,
For lovers ever run before the clocke.
C: It is a marvell he out ftayes his hour,
Merchant ii.vi.3 (C. p. 76)
F2: yet the fcarffes and the bannerets a-|bout thee, did manifoldly diffwade
me from beleeving | thee a veffell of too great a burthen.
C: ...Did manifeftly diffwade me from believing
All's Well 11.iii.202 (C. p. 278)
F2: I fhould have given't you to day morning. |
C: I fhould have given it you this morning, but
Twelfth Night v.i.278 (C. p. 185)
F2: So lookes the chafed Lyon
Vpon the daring Huntfman that has galld him:
C: fo looks the chafed Lyon
Henry F/// n1.ii.206 (C. p. 12)
F2: Obferve degree, priority, and place,
Infifture, courfe, proportion, feafon, forme,
394 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
C: Infite, courfe, proportion, feafon, form,
Troilus i.iii.87 (C. p. 208)
F2: Divert, and cracke, rend and deracinate
The unity, and married calme of States
Quite from their fixure?
C: Divert and wrack, rend and dilacerate*
The unity and married calm of ftates,
Quite from their figure?
Troilus I. iii. 99-101 (C. p. 208)
F2: But riches fineleffe, is as poore as Winter,
C: But riches endleffe is as poor as Winter
Othello III. iii. 177 (C. p. 139)
In other passages which he can scarcely have misunderstood, his
changes seem due to a desire to make understanding easier by sub-
stituting a simpler, more literal, or more usual expression:
F2: Friend haft thou none:
C: Friends then haft thou none.
Measure iii.i.28 (C. p. 174)
F2: What King fo ftrong,
Can tye the gall up in the flanderous tongue?
C: Can tie the Gall up in a flanderous tongue?
Measure Il1.ii.176 (C. p. 79)
F2: Doe creame and mantle like a ftanding pond,
C: Do cream and mantle like a ftanding Pool.f
Merchant i.i.89 (C. p. 191)
F2: O my Anthonio, I doe know of thefe
That therefore onely are reputed wife.
For faying nothing;
C: Caufe they fay nothing,
Merchant i.i.97 (C. p. 191)
F2: Thou I looke old, yet I am ftrong and lufty;
C: Thou I am old, yet I am ftrong and lufty.
As You Like It 11. iii. 47 (C. p. 273)
F2: Rof. Farewell Mounfier Travellor: looke you lifpe, | ... & almoft |
chide God for making you that countenance you are;
C: ...and almoft chide God for
His making you the countenance you have,
As You Like It iv.i.33 (C. p. 278)
* Dilacerate is a good seventeenth-century word which the N.E.D. defines as
meaning "to tear asunder, tear in pieces."
t Evidently Cotgrave is trying to make a distinction between "a small body of
standing or still water" {N.E.D. on pool, sb.^) and "a small body of still water"
(N.E.D. on pond, sb.).
APPENDIX 395
F2: There is a Hiftory in all mens Lives,...
The which obferv'd, a man may prophecie
C: Which well obferv'd, a man may prophefie
2 Henry /Fiii.i.82 (C. p. 127)
F2: For nature creffant does not grow alone.
In thewes and Bulke: but as his Temple waxes,
C: In fhews and bulk, but as her Temple waxes,
Hamlet i.iii.12 (C. p. 201)
He also supplies a few apparent omissions :
Fo: If they fhould fpeake, would almoft damme thofe eares
C: If they fhould fpeak, they'ld almoft dam thofe ears
Merchant i.i.98 (C. p. 191)
F2: Men that make
Env^, and crooked malice, nourifhment;
Dare bite the beft.
C: Men that make en\y and crooked malice
Their nourifhment, dare bite the beft.
Henry VIII v.iii.44 (C. p. 79)
F2: if it [your wit] were at liberty, twould fure Southward. | ...To loofe
it felfe in a Fogge,
C: If it were at liberty, 'twould fure go Southward,
Coriolantis 11.iii.28 (C. p. 219)
Sometimes he expands contractions :
F2: When Vice makes Mercy; Mercy's fo extended,
C: When vice makes mercy, mercy is fo extended,
Measure 1v.ii.107 (C. p. 20)
F2: Firft, here's yong M^ Rafh, he's in for a | commodity of browne paper,
and old Ginger,
C: Firft here is young Mr. Rafh, he is in for...
Measure iv.iii.4 (C. p. 236)
F2: That wifhing well had not a body in't,
C: That wifhing well had not a body in it,
All's Well i.i.169 (C. p. 233)
F2: (Nay let 'em be unmanly)
C: (Nay, let them be unmanly,
Henry VIII l.iii.4 (C. p. 68)
Finally, a number of curious and occasionally ingenious changes
seem to be due to a desire to avoid repetition or tautology :
F2: what's yet in this
That beares the name of life? Yet in this life
Lye hid moe thoufand deaths; yet death we feare
That makes thefe oddes, all even.
396 SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
C: What's in all this,...
Lie hid more thoufand deaths, and death we fear,
Measure iii.i. 38-40 (C. p. 174)
Fo: If fpeaking, why a vane blowne with all windes,
If filent, why a blocke moved with none.
C: If filent, then a block, moved with none.
Much Ado III. i. 67 (C. p. 81)
F2." His Scepter fhewes the force of temporall power,
The attribute to awe and Majefty,
Wherein doth fit the dread and feare of Kings:
C: Wherein doth fit the dread and ftate of Kings.
Merchant iv.i.187 (C. p. 193)
F2: He tell you who Time ambles with- 1 all, who Time trots withall, who
time gallops withall, and | who he ftands ftill withall.
C: I'll tell you who time trots withall, who he
Ambles withall, whom he Gallops withall.
And who he ftands ftill withall.
As You Like It iii.ii. 291-3 (C. p. 275)
F2: Seldome he fmiles, and fmiles in fuch a fort
As if he mock'd himfelfe, and fcorn'd his fpirit
That could be mov'd to fmile at any thing.
C: Seldome he fmiles, and then in fuch a fort
Caesar i.ii.205 (C. p. 190)
Altogether, we submit, in his attitude towards the text of Shake-
speare, the freedom which he permits himself in changing it where he
thinks it corrupt or improvable, and up to a point, the intelligence
he evinces in making his changes Cotgrave strongly resembles the
editors of the folios, especially of Fg and F4. His reverence for the
text is no greater than theirs when he is confronted by corruption,
real or fancied, inconsistency, obscurity, or obsolete usage; his re-
course is likewise to common sense and such ingenuity as he can
muster, and his results are of the same kind and quality. Accordingly,
we believe that the attitude which he shares with the folio editors
may safely be described as typical of their time.
INDEX
AWs Well that Ends Well
n.iii.133
228
V. iii. 114
... 105
II. 111.135
149
V.iii.115
••■ 332
I.i.48
IS
II. iii. 176
15
V. iii. 122
no
I.i.137
8
II. iii. 200
. . . . 308
V. iii. 146-7 ....
... 218
I.i.138
201
II. iii. 201
299
V.iii.153
. 174, 310
1. 1.159
243
II. iii. 202
393
V.iii.193-7. . . .
... 274
I.i.169
395
II. iii. 221
. . . . 127
V. iii. 210
15
I.i.170
• • •10,385
II. iii. 261
•■•■ 358
V. iii. 254
261
I.i.193
364
n.iii.273
244
V.iii.293
... 304
Li. 209
71
Il.iv.io
213
V.iii.32S
• • • 344
I.i.2I2
392
II.iv.41
310
Epil.4
... 145
I.ii.18
139
n.v.30
143
I.ii:52
148
II.V.36
236
Antony and Cleopatra
I.iii.19
141
III.ii.9
248
I.m.38
369
in.ii.13
127
I.i.i
... 87
I-iii.53-4
310
III.ii.46
. . . . 260
I.i.4
88
I.iii.68-9
260
III.ii.70
149
I.i.i8
..88,223
I.m.87
16
III.ii.75
207
I.i.31
. ■ ■ 354
I.iii.88
308
III.ii.83
• ■ • • 300
1.1.32
88
I.iii-115
15-6
III.ii.109
.... 195
I.i.34
88
I.iii.142
148
III.ii.ii6
■■•• 356
I.i.39
88
I.iii.144
279
III. ii. 124
143
1.1.42-3
88
I.iii.i68
104
III.iii.4
. . . . 10
I.i.50
..88, 131
I.iii.169
241
III.iv.26
•••• 332
I.i.52-3
88
I.iii.174
260
III.iv.29
• • 228, 27s
1.1.59-62
88
I.iii.i75
16
III.V.31
.... 258
I.ii.5
88
I.iii.180
71
III.V.63
. . . . 104
I.ii.6
88
I.iii.183
i8
III.V.97
244
I.ii.9-10
88
I-iii-i93
38, 109
III.vi.18-28. . .
274
I.ii.ii
88
I.iii.202
285
III.vi.8o
369
I.ii.19
■ • • 307
I.iii.2ii
14
III.vii.19
187-8
I.ii.24
... 337
Il.i.IS.d
71
III.vii.22
364
I.ii.32-3
88
II.i.i6
8
ni.vii.34
117
I.ii.34-5
... 89
II.i.29
369
III.vii.40
.... 356
I.ii.36-7
... 89
II.i.47
148
ni.vii.41
.... 328
I.ii.37
... 89
II.1.I2S
208
IV.i.40
.... 314
I.ii.44
... 89
n-i-iS4
256
IV.ii.6
149
1.11.52
... 89
II.i.173
257
IV.ii.21
.... 200
I.ii.58-9
... 89
n.i.i7S
8
IV.ii.66
311
I.ii.75
. .89, 108
II. i. 202
209
IV.ii.74
•-.■ 313
I.ii.8o
■ •89,375
II. i. 209
126
IV.iii.36
8
I.ii.82
• .89, 139
n-ii.S7
72
IV.iii. 78-80. . .
.... 251
I.ii.83
... 89
n.iii.i2
274
IV.iii.82
. . . . 256
I.ii.84
... 89
II.iii.24
71
IV.iii. 94
72
I.ii.85
... 89
II.iii.35
14
IV.iii.167
•■•■ 356
I.ii.87-8
... 89
II.iii.37
15
IV.iii. 213
.... 281
I.ii.91
... 89
II.iii.40
16
IV.iii. 223
247
I.ii.96-101 ....
. . . 89-90
II. iii. 64-70. . .
56
IV.iii. 235
369
I.ii.ioi
90
II. iii. 68-70. . .
311
IV.iii. 263
.... 139
I. ii. 102-3
90
II. iii. 69
304
IV.iv.3
. . . . los
I.ii.107
90
II.ni.73
8
IV.iv.9
. .139- 271
I.ii.108
.307,358
II. iii. 76-7. . . .
244
IV.iv.35
. . .15,372
I.ii.iio
90
II. iii. 79
283
IV.V.35
• • • • 350
I.ii.iii
90
II.iii.83
317
IV.v.72
139
I.ii.115
90
II. iii. 92
104
V.i.6
289
I.ii.ii6
90
II. iii. 94-5. . . .
251
V.ii.31
• • ■ . 134
I.ii.ii6-8
90
II. iii. 119
8
V.11.39
247
I.ii.ii8
90
Il.iii.i
25
238
V.iii.74
. . • • 347
I.ii.i2o
. .90, 187
397
398
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Antony and Cleopatra
I.V.61
• -94- 131
(continued)
I-v.63-7
94
I-v.73-5
94
l.n.i2S
10
I-V.77
■ • • 349
I-ii-i34
90
I.v.77-8
94
I-ii-iS2
91
n.i.4
... 300
I.ii.170
• ■ 13-91
ii.i.18
••• 378
I.ii.171
. . . 300
ii.i.41
... 108
I-ii-i73
91
n.i.43
• •75,337
I.ii.178
. .91, 124
11.ii.26
... 250
I.ii.187
• -91, 307
n.ii.52
... 263
I.ii.189
. . 91, III
U:n.56
II
I.iii.2
91
n.11.57
16
I.iii.5
204
n.ii.73
••• 257
I.iii.5 s.d
91
II.ii.78
... 378
I.iii.2o
91
II.ii.90
... 263
I.iii.29
91
II.ii.102
204
I-iii-33
91
n.ii.ios
... 152
I-111-S5
••• 357
II.ii.io6
... 281
I.iii.71
. . 91, 126
II.ii.122
i6
I.iii.80
91
II.ii.124
... 139
I.iii.82
.•82,135
II.ii.133-4
... 121
I.iii.ioi-2
92
n.ii.i4S
... 300
I.iii.103
. .92, 126
n.ii.i58
... 213
I.iv.3
92
II.ii.174 s.d.. . .
126
I.iv.s
16
II.ii.i8o
207
I.iv.6
92
II.ii.190-1
■ ■ • 139
I.iv.7-9
92
II.ii.203
... 380
I.iv.8
. .92, 187
II.ii.210
129
I.iv.8-9
. .92, 129
II^ii-213
201
I.iv.io-i
92
n.ii.215
... 307
I.iv.ii
92
II.ii.221
• ■• 139
I.iv.i6
10
II.ii.236
... 256
I.iv.17
• -92, 259
n.ii.239
8
I.iv.24
92
II.ii.242
... 328
I-iv.30
92
II.ii.246
■•• 3^3
I-iv-43
93
II.iii.8
... 197
I.iv.44
93
Il.iii.io
• • ■ 303
I.iv.46
• -93. 257
II.iii.20
••• 135
I.iv.48
■•93-329
n.iii.23
206
I.iv.49
••93-326
n.iii.25
... 152
I-iv.So
■ • -35^-2
n.iii.31
... 178
I-iv.S2
... 289
n.iii.32
... 139
I.iv.56
93
II.iii.41 s.d. . . .
... 139
I-iv.S7
93
II.iii,4i
... 139
I.1V.58 9^
?- 138,329
II.iv.6
••• 135
I.iv.66
• -93- 126
II.v.i s.d
... 139
I.iv.70
••• 376
II.V.IO
••• 153
I.iv.71
... 309
n.v.33
224
I-iv-7S 9,
3, 111,316
II.V.78
220
I.iv.79-80
93
II.V.87
... 272
I.iv.83-4
93
II.V.96
••• 153
I.V.I
... 348
n.v.103
... 214
I-v.3-4
93
II.vi.6
... 369
I.V.4
• -94, 190
II.vi.8
... 271
I.V.II
... 208
II.vi.i6
... 121
I.V.18
... 348
n.vi.30
196
I.V.19
■•• 3^3
n.vi.3S
•139, 259
I.V.3I
... 309
n.vi.39
••• 365
I.V.40
94
II.vi.69
... 282
I.v.so
94
II.vi.92
14
I.V.52
... 300
n.vi.97
... 136
I-V.54
. . . . 348
II.vi.ii8
... II
.Vll.I
.vii.4
.vii. 17 s.d..
.vii.27. . . .
I.vii.34. . . .
I-vii.43
I. vii. 46
I.vii.73. • • •
I.vii.97-8. .
I. vii. 122 . . .
I. vii. 125-6. ,
Il.i.i
Il.i.ii
II.i.13
Il.ii.ii
II.ii.23 s.d. .
n.ii.31
II.ii.49
II. ii. 51-3. . .
II.ii.62
n.iii.3
II.iii.31-2 . .
II.iv.9
II.iv.38
II.V.9
II.vi.2
II.vi.13
II.vi.15 . . . .
II.vi.i6
II.vi.19 . . . .
II.vi.22 . . . .
II.vi.23 . . . .
II.vi.28
II.vi.31 . . . .
II.vi.34
II.vi.42 . . . .
II.vi.68
II.vi.75. • • •
II. vi. 78-9. .
II. vii. 4
II. vii. 10. . . .
Il.vii.ii . . . .
II. vii. 20. . . .
II. vii. 21 . . . .
II.vii.23. . . .
II.vii.35
II. vii. 51. . . .
II. vii. 57. . . .
II.vii.66 s.d
II. vii. 67. . . .
II. X. 4 s.d. . .
II.x.io
n.x.13
II.X.14
II.xi.44. • • •
II.xi.47. . . .
II.xi.58
II.xi.72. . . .
Il.xii.i s.d. .
II.xii.13. . . .
II.xii.14. • • •
II.xii.28... .
II.xii.35
Antony and Cleopatra
{continued)
Ill.xiii.io. .
III.xiii.13 • •
III.xiii.55. .
III.xiii.58. .
III.xiii.104.
Ill.xiii. Ill .
III.xiii.ii8.
Ill.xiii. 147 .
Ill.xiii. 175 .
Ill.xiii. 199.
IV.i.i s.d...
IV.i.6
IV.ii. 23. . . .
IV.ii.34- . • .
IV.11.39. . . .
IV.iii.6s.d..
IV.iii.14. . .
IV.iii.22. . .
IV.iv.29. • •
IV.V.17....
IV.vi.i6. . .
IV.vi.38. . .
IV.viii.i s.d
IV.viii.i8. .
IV.viii.39 . .
IV.ix.i s.d. .
IV.ix. 29. . . .
IV.ix. 29-30.
IV.x.i s.d..
IV.xii.i s.d.
IV.xii.34. . .
IV.xiii. I . . .
IV.xiv.22 . .
IV.xiv.s8. .
IV.xiv.69. .
IV.xiv. 14c.
IV.XV.9. . . .
IV.xv.15. . .
IV.xv.26. . .
IV.xv.54. . .
IV.xv.86. . .
V.i.ii-2 . . .
V.i.i2
V.i.27
V.i.30
V.i.31
V.i.34
V.i.64
V.ii.S7
V.ii.6i
V.ii.66
V.ii.96
V.ii.207. . . .
V.ii.215. . . .
V.ii.222. . . .
V.ii.224. . . .
V.ii.235
V.ii.256. . . .
V.ii.266
V.ii.270-5. .
237
6, 16
108
71
327
8
139
214
15
384
329
15
214
216
15
209
307
278
192
190
II
139
208
13
287
371
236
139
139
236
121
328
71
13
126
I I
240
153
359
347
324
369
206
295
20, 310
295
347
70, 153
300
200
248
201
126
47) 208
10
246
211
9, 10
275
V.U.33
3
... 318
II. vi. 4-16
.. 78
v.ii.338-9 263
II.vii.54-s
78
V.ii.348 8
II.vii.64
.. 78
II.vii.83
.. 78
As You Like It
II.vii.87
•79. 124
II.vii.95
241
I.i.2
II
Il.vii.ioo-i ....
79
I.i.62
... 316
II. vii. 102-3 ....
79
I-i-93
... 316
II.vii.135
79
I.i.ioo
. . ■ 247
II.vii.167-8. . . .
79
I.i.iii
... 359
II. vii. 175-8. . . .
79
I.i.126
... 376
II.vii.182
79
I-i-i34
... 316
II. vii. 184-9. . • .
79
I.i.145-54
... 113
II. vii. 198
79
I.ii.48
. . .122-3
III.i.3
10
I.ii.83
... 139
III.ii.41
.. 308
I.ii.88 s.d
... 139
III.ii.67
148
I.ii.88
. . . 288
III.ii.85
.. 310
I.ii.i2o
... 376
III.ii.95
. . 248
I.ii.i2o
10
III.ii.131
8
I-ii-i53
10
III.ii.147
273
I.ii.191
... 257
III.ii.162
10
I.ii.222
. . . 148
III.ii.182
212
I-ii-223.
221
III.ii.191-3
. • 396
I-ii-259
... 275
III. ii. 217
.. 299
I-111-53
... 127
III. ii. 222
99
I.iii.98
. ■ . 193
III.ii.246
. . 208
I.iii.105
267
III. ii. 251
IS
I.iii.108
. . . 288
III.ii.264
IS
I-iii-i33
... 137
III. ii. 292
.. 391
n.i.5
77
III. ii. 294
202
II.i.8.
...307-8
III. ii. 297
. . 390
II.i.18
77
III.ii.298
.. 365
II.i.49
77
. 144. 227
III.ii.306
202
II.i.50
77
III. ii. 307
. . 391
II.i.59
■ .77, 116
III. ii. 309
202
II.i.69
... 311
ni.ii.330
.. 31S
Il.iii.io
. .77, 144
ni.ii.337
104
II.iii.i6
. -77, 113
III. ii. 344
127
II.iii.29
. -77, 113
III.ii.349
.40, 217
n.iii.47
. . . 394
III.ii.354
.. 316
II.iii.49
... 392
lll.ii.387
8
II.iii.50
. . . 391
III.iv.14
.. 218
II.iii.71
77
III.iv.27
.. 133
Il.iv.i
77
III.iv.44
. . 202-3
II.iv.7
... 316
III. V. 22
116
II.iv.8
... 208
III. V. 29
IX
II.iv.30
77
III.V.44
. . . 208
n.iv.35
... 193
III.V.104
. .. 328
II.iv.40
126
III.V.127
.. 116
II.iv.41
..78,176
IV.i.i
.• 133
n.iv.45
16
IV.i.is
. . 392
II.iv.46
. . 78, 207
lv.i.17
104
II.iv.64
. • 78, 104
Iv.i.28-9
. .. 274
II.iv.76
... 78
lv.i.29
112
II.iv.89-90
... 78
lv.i.33
■ . • 394
II.V.11-3
... 78
IV.i.S4
. ■ • 345
n.v.25
... 148
Iv.i.65-9
. .. 274
II.v.30-3
... 78
lv.i.82
• • . 339
n.v.35
... 373
lv.i.93
... 139
II.v.45-53
..78,113
Iv.i.146
.. 369
II.v.46-7
..78, 252
IV.i.i88
146
Il.vi.i
-3 • ■
... 78
IV.iii.7
... 116
400
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
As You Like It
(continued)
IV.iii.8 8
IV.iii.26 339
IV.iii.68 14
IV.iii.79 10
IV.iii.86 198
IV.iii.112 15
IV.iii.154 37, 104
IV.iii.158 55. 304
V.i.34 104
V.ii.17 311
V.ii.25 355, 364
V.ii.29-30 123
V.ii.56 365
V.iii.27 304
V.iii.31 304
V.iv.77 133
V.iv.108 247
V.iv. Ill 311
V.iv. 180 148
V.iv. 191 116
V.iv. 192 112
Epil. 12 296
Epil. 20 126
The Comedy of Errors
I-i-i 13
I.i.23 226
I-i-39 114
I.i.43 206, 244, 256
I-i-SS 179
I.i.91 226
I-i-93 139
I-1-I03 179
I.i.iiS 8
I.i.I22 238
I.i.124 102, 364
I.i.128 192
I.ii.4 102
I.ii.i8 208
I.ii-33 208
I.ii.40 238
n.i.i2 140
n.i.22-3 238
n.i.52 257
n.i.6i 100
H.i.65 100
n.i.68 338
n.i.85 112
n.i.93 14
n.i.107 103
n.i.112-3 I94-S
11. i. 115 75
n.ii.i s.d 190
n.ii.91 212
H.ii.ioi 103
H.ii.iio 15
n.ii.189 180
n.ii.193 180
n.ii.203 266
nl.i.14. ...
10
I.i.55..
79
In.i.35....
.-. 331
I. i. 60-1
79
nl.i.46. ...
15
I.i.64. .
80, 334
nl.i.56....
.-■ 257
I.i.77--
80
nl.i.72. ...
. . . 205
1.1.90..
80
nl.i.75....
-.- 145
I.1.91-3
80
HI. i. 106. . .
. . . 180
I.i.ioi .
80
ni.i.117. ..
II
I.i.103.
80, 291, 345
in.i.119. ..
. . . 208
1. 1.104.
80
HI. i. 122 . . .
. .45, 226
I.i.105.
80
in.ii.i
. . . 113
I.i.108.
80, 106, 328
ln.ii.26....
140
I.i.ii2.
80
nl.ii.43....
. . . 208
I.i.118.
80, 350
nl.ii.46....
. . . 109
I.i.I20.
80
nl.ii.49 —
■ . . 103
I.i.r2i .
280
nl.ii.r23. . .
210
I.i.125.
80
nI.ii.177-8
) . . - .
-.. 273
I.i.127.
81
lv.i.14
... 367
1. 1.134.
81
lv.i.62
... 217
1. 1.139.
81
IV.i.88
. . . 180
1. 1.143.
81
IV.i.89
. . . 191
I.i.145.
81
IV.ii.5-6...
-.■ 331
I.i.148.
81
IV.ii.6
. . . 103
I.i.152.
81
IV.ii.22. . . .
224
I.i.156.
81
IV.ii.34
. . . 103
I.i.162.
81
IV.ii.45....
.247, 302
I.i.164.
81
IV.ii.46
-.- 373
I.i.167.
300
IV.ii.48....
. - - 103
1. 1.170.
....81,389
IV.iii.32 . . .
. .23, 127
I.i.182.
....81,328
IV.iii.55---
.133. 147
I.i.2I2.
81
IV.iv.5-6. .
.-- 2)2,'^
I.i.2i6.
81
V.i.33
■■■ 255
I.i.222.
.. . .81,368
V.i.46
. . . 114
1.1.223.
369
V.1.49
18
I.i.224.
82
V.i.69
• . . 300
I.i.225 s
.d... .
82, 329
V.i.74
200
I.i.225.
378
V.1.79
15
I.i.238.
82
V.i.117. . . .
224
1-1-243-5
82
V.i.I2I
. . . 248
1.1.244-5
371
V.i.124. . . .
-■- 257
I.i.249 s.d. . . .
82, 126
V.i.128
224
I.i.252
82
V. 1.132. . . .
. . . 224
I-i-253
82
v.i.137-.-.
- • ■ 130
I-1-256
82
v.i.176
... 215
1. 1.257-61
82
v.i.179 —
. . . 265
I.i.262
213
v.1.205. . . .
16
I. i. 270-1
82
v.i.249 ....
207
I.i.271
82
v.i.281
. . . 311
I.ii.i
82
v.i.291 ....
246
I-ii.4
82, 125, 249
v.1.357 —
. - . 343
I.ii.6
82, 261
v.1.399. . . .
15
I.il.io
268
v.i.401 ....
. . . 188
I.ii.i6
82, 257
v.i.421 ....
. - • 300
I.ii.2o
257
I-ii-27
246
Coriolaniis
I-ii-27-9
■ .82-3,334
I-iii-36
83, 134
Li. 6
79
1.111.40-4
383
I-i.i5
• .79. 249
1-111-43
....83,177
I.i.22
. ■ - 295
I.iii.46
329
I-i-33
79
1.111-52
....83,328
1-1-45
. -79-327
1-111-57
^3
I-i-53
13
I.iii.58
83
1.1.53-4
... 184
I.iii.62.
-•.364,376
INDEX
401
I.iii.66
I.iii.Si
I.iii.83
I.iii.84
I.iii.94
I.iii.99
I.iii.104
I.iii.104
I.iii.108
I.iv.i . .
I.iv.6..
I.iv.13 s
I.iv.13.
I.iv.17.
I.iv.2o.
I.iv.25.
I.iv.31.
I.iv.42.
I.iv.43 s
I.iv.44.
I.iv.45 i
I.iv.55.
I.iv.56.
I.iv.57.
I.iv.58.
I.V.7. .
I.v.g. .
I.v.io.
I. V. 19-20
I.vi.4. .
I.vi.6..
I.vi.ii.
I.vi.13.
I.vi.2i.
I.vi.26.
I.vi.30.
I.vi.32-
I.vi.37.
I.vi.46.
I.vi.48-
I.vi.50.
I.vi.53.
I.V1.54.
I.V1.57-
I.V1.59.
I.vi.70.
I.vi.8i-2
I.viii.6-7
I.ix.2. . .
I.ix.13-4
I.ix.15-7
I.ix. 19-2
I.ix.32. .
I.ix.35-6
I.ix. 44. .
I.ix.46. .
I.ix.47. .
I.ix.50. .
I.ix.50-1
I.ix.53. .
I.IX.56. .
50.
itinued) 1
364
251
^83,
257
.83,
259
83
246
83
^83,
335
83
83
245
293
''83,
329
.84,
261
329
84
84
'^84,
123
256
84
"^84,
"3
84
. . . 66, 84 1
..84,
249
84
84
84
190,
329
85
.'85,
328
85
329
85
8S
85
85
85
246
8S
85
^'^8
283
85
190
85
. 190
329
85-6
249
86
86
355
86
86
86
86
86
87
87
:;87
335
..87
328
87
87
213
I.ix.65
87, 294
I.ix. 65-6
• 87
I.ix.67
• 294
I-ix.74
87,335
I.ix.79-81. . . .
. 87
I.X.I 5
. 87
I.X.I 7
. 87
II.i.i8
II
II.i.22
• 143
II.i.40
. 268
II.i.65
• 354
II.i.77-8
. 262
II-i.79
• 335
II.i.87
■ 369
II.i.89
214
II.i.115
. 374
n-i.i53
219
II.i.169
106
n.\.m
. 141
ii.i.237-8....
8
n-i-2S4
■ 364
II.ii.7
■ 325
II.ii.35 s.d.. . .
219
II.ii.65
72
11.11-79
54, 2
50, 364
II.ii.89
250
II.ii.103
216
II.ii.io8
219
II.ii.109
■ 233
Il.ii.iio
• 194
II.ii.112
246
II.ii.117-8. .. .
19, 269
II.ii.124
. 119
II.ii.136
. 328
II. ii. 145-6. . . .
262
II.ii.152 s.d.. .
• 325
II.iii.i8
65,364
II.iii.27
• 136
II.iii.28
. 395
II.iii.66
106
Il.iii.iio
. 328
Il.iii.iii
. 106-7
II.iii.112
. 175
II.iii.113
• 325
II.iii.121
. 252
II.iii.122
. 300
II.iii.179
. 366
II. iii. 185-6. . .
119-20
II.iii.246
71
Ill.i.IO
. 328
III.i.29
. 239
III.i.44
71
III.i.66
• 327
III.i.98
. 328
III.i.113-5...
. 274
III.i.I20
204
III.i.138
■ 364
in.i.23s
. 335
nl.i.237
. 113
III. i. 242
9
III.i.310
. 363
III.i.319
. 328
III.ii.9
. 384
III.ii.i8
... 30S
III.ii.38
262
III.ii.54
... 185
III. ii. 130
... 208
Ill.iii.ii
9
III.iii.15
... 369
III. iii. 32
III
in.iii.35
... 177
III.iii.68
... 151
III.iii.71
262
III. iii. 74
■ ■ . 335
III. iii. 100
... 125
III. iii. 137
... 258
III. iii. 144
... 241
IV.i.8
... 328
IV.i.24
... 250
IV.i.38
... 256
IV.ii.12
... 257
IV.ii.19
... 328
IV.ii.21
. • ■ 300
IV.ii.43
216
IV.ii.51
• • ■ 257
IV. iii. 32
146
IV.iv.3
13
IV.iv.13
... 322
IV.iv.15
8
IV.iv.23
63-4, 350
IV.iv.24
63-4, 374
IV.V.16
... 338
IV.V.68
... 365
IV.V.70
. .13, 257
IV.V.71
... 365
IV.V.73
13
IV.V.98
... 323
IV. V. 104
... 300
IV.V.127
... 252
IV.V.176
... 327
IV.V.215
... 328
IV.V.219
••. 357
IV. V. 223-4. . . .
... 247
IV.vi.20
... 355
IV.vi.21
... 355
IV.vi.31
... 335
IV.vi.35
269
IV.vi.51
... 325
IV.vi.77
... 315
IV.vi.133
... 341
IV.vi.143-6. . .
... 274
IV.vii.8
204
IV.vii.i6
... 328
IV.vii.30
... 280
IV.vii.37
256
IV.vii.49
... 128
V.i.5
... 245
V.1.42-3
... 358
V.ii.13
... 341
V.ii.36
... 335
V.ii.43
... 357
V.ii.58
... 354
V.ii.64
... 328
V.ii.90 s.d
126
V.ii.96
... 328
V.ii. 104-5
... 324
402
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Coriolanus {continued)
V.iii.73-
V.iii.Si.
V.iii.97.
V.iii.ioy-
V.iii.158
V.iii.163
V.iii.169
V.iii.170
V.iii.171
V.iii.192
V.iv.ii .
V.iv.17.
V.iv.51 .
V.v.3...
V.V.7 s.d
V.vi.5..
V.vi.34.
V.vi.36.
V.vi.37.
V.vi.49 s
V.vi.57.
V.vi.71 s
V.vi.ii6
V.vi.131
s.d
349
233
335
214
107
144
365
357
328
207
315
284
347
112
71
262
351
358
254
15
378
250
325. 363
Cymbeline
I.i.2i .
I.i.30.
I.i.93.
I.i.97.
1. 1.143
I.i.149
I.ii.9.
I.iii.9.
I.iii.31
I.iv.i-2
I.iv.io
I.iv.i2
I.iv.113
I.iv.149
I.iv.i6o
I.V.3 s.d
I.vi.7. .
I.vi.46.
I.vi.66.
I.vi.71-
I.vi.io2
I.vi.103
I-vi.i53
I.vi.167
I.vi.i68
I.vi.iSi
H.i.ii.
n.i.14.
n.i.i6.
n.i.22 .
n.i.31-:
Il.ii.i.
II.ii.22
II.ii.23
352
138
207
293
328
328
300
370
328
72
265
281
360
9
257
126
129
263
13
153
380
III
202
131
108
71
327
124
257
316
135
71
10
287
H.iii.2
. . . . 10
H.iii.7-9
323
H.iii.13
16
H.iii.47
.... 175
n.iii.91
.... 317
n.iii.127
•••■ 153
H.iii.133
. . . . 121
H.iii.137
. . . . 129
n.iii.144
337
n.iii.146
301
n.iii.148
. . . . 202
n.iii.156
. . . . 121
H.iv.6
129
H.iv.24
. . . . 109
II.iv.55
•■•• 153
n.iv.59
309
n.iv.71
.... 139
n.iv.ii6
135
H.V.27
. . . . 100
ni.i.5
. . . . 138
ni.i.30
.... 138
Hi.i.36
208
HI. 1.39-40. . . .
.... 138
HI.i.6i
.... 258
ni.i.62
208
in.i.73
.... 328
ni.ii.6i
303
ni.ii.66
. . . . 109
ni.ii.76
.... 327
ni.iii.87
.... 203
ni.iv.6o
. . . . 246
ni.iv.147
. . . . II
ni.iv.162
. . 278, 284
ni.iv.185
. . . . 207
ni.v.32
. .126, 208
in.v.35
. . . . II
in.v.40
141
ni.v.94
153-4
ni.v.105
213
ni.v.109
. . . . 292
ni.v.130 s.d.. .
. . . . 238
ni.vi.20
. . . . II
in.vi.55
.... 271
ni.vi.57
.... 328
ni.vi.89
72
IV.i.i s.d
259
IV.ii.62 s.d.. . .
329
IV.ii.77
. . . . 202
IV.ii.123
293
IV.ii.130
.... 197
IV.ii.139
311
IV.ii.142
330
IV.ii.169
330
IV.ii.171
.... 178
IV.ii.207
127
IV.ii.243
. . . . 220
IV.ii.250
• . . . 385
IV.ii.273
15
IV.ii.284
215
IV.ii.319
■■.. 313
IV.ii.321
.... 328
IV.ii.330
. ... 329
IV.ii.345
214
IV.ii.348
IV.ii.372
IV.ii.388
IV.iii.22
IV.iii.27
IV.iii.31
IV.iv.2-
IV.iv. 14
IV.iv.35
V.ii.ii.
V.iii.7.
V.iii.23
V.iii.47
V.iii.51
V.iii.72
V.iv.i8
V.iv.2o
V.iv. 25
V.iv.44
V.iv. 56-7
V.iv.63-8
V.iv.8i.
V.iv.147
V.iv.i66
V.iv. 205
V.V.5..
V.V.27.
V.V.54.
V.V.64.
V.V.114
V.V.134
V.V.145
V.V.177
V.V.I 82
V.V.198
V.V.205
V.V.223
V.V.252
V.V.255
V.V.274
V.V.391
V.V.400
V.V.405
V.V.412
Hamlet
.6...
.7.. .
1.36. .
.65..
.94. .
.161.
1.174.
ii.26.
ii.41 s
ii.72 .
I.ii.i35
1.11. 141
I.ii.159
I.11.193
I.ii.204
I.ii.2i6
197
200
II
223
263
8
211
16
121
214
13
154
154
316
300
328
328
271
328
122
324
122
309
299
126
365
132
200
254, 264
298
250
71
256
II
328
135
307
328
.41, 220
348,365
300
14
146
194
305
136
300
220
124
10
170
336
326
II
276
351
336
299
283
INDEX
403
Hamlet (continued)
I.ii.242 160
I.iii.8 282
I.iii-i2 395
I-iii.32 369
I.iii-36 389
I.iii-39 71
I.iii.85 338
I.iii.107 342
I.iii.109 367
I.iv.i 284
I.iv.4 301, 328
I.iv.i2 2S4
I.iv.74 72-3
I.iv.83 284
I.V.2 270
I.V.29 170
I.V.43 349
I.V.45 270
I.V.56 306
I.v.56-7 386
I.V.151 158
I.V.184 10
Il.i.ii 204
II.i.S4-68 274
n-i-69 354
II.i.87 10
II.i.92 208
n.i.94 13
11-1:96 235
II.ii.39 166
n-ii-47 310
II.ii.83 8
Il.ii-iio 347
II.ii-i39 151
II.ii.140 40, 220
II-ii.i45 74
n.ii.iSS 151
II.n.193 203
II.ii.278 265
n.ii.317 337
II.ii.337 166
n.ii-345 209, 283
n.ii.380 364
n.ii.383 369
II.ii.387 138
II.ii.414 8
II.ii.420 305
n.ii.447 342
n.ii.455 355
n. 11.489 323
II.ii.496 158
II.ii.497 158
II.ii.498 158
n.ii.571 303
11.11.587 257
II.ii.593 8
III.i.17 286
III.i.48 386
III. i. 67 292
III. i. 114 300
ni.i.i55 289
III. i. 159 16
III. i. 167 291
III.i.184 263
III. ii. 4-5 265
in.ii.17 270
III.ii.27 13
III.ii.44 126
III.ii.82 342
III.ii.84 280
III.ii.90 315
ni.ii.147 65, 347
III. ii. 156 161
III. ii. 165 2S9
III. ii. 172 161
III. ii. 177 161
III. ii. 211 161
III.ii.252 374
III. ii. 264 s.d 326
III. ii. 266 343
III. ii. 281 364
III. ii. 297 204
III. ii. 298 10
ni.ii.317 328
III. ii. 336. .■ 72
III. ii. 366-7 263
III.iii.88 357
III.iv.19 208
in.iv.25 338
III. iv. 61-2 380
III.iv.117 186
III.iv.ii8 196
III.iv.131 168
III. iv. 153 167
III. iv. 188 158
III. iv. 195 152
IV.i.30 347
IV.iii.23 167
IV.iii.24 160
IV.iv.i 224
IV.v.46-7 23s
IV.v.52 272
IV.V.65 158
IV. v. 76 379
IV.V.97 170
IV. V. 112 347
IV.V.123 303
IV.V.134 73
IV. V. 142 270
IV.V.143 38, 160
IV.V.144 9
IV. V. 169 II
IV.V.173 144, 304
IV.V.196 s.d 126
IV. V. 198 170
IV.vi.9 346
IV.vi.24 310
IV.vii 24 141
IV.vii.34 16
IV.vii. 41 289
IV.vii. 58 152
IV.vii. 105 214
IV.vii. 106 73
IV.vii. 1 24 200
IV.vii. 1 25 322
IV.vii. 1 63 121
IV.vii. 180 14
IV.vii.182 15s
IV.vii. 192 196
V.i.14 270
V.i.59 346
V.i.134 223
V.i.i3S 389
V.i.136 223
V.i.137 167
V.i.156 160
V.i.163 201
V.i.2io 282
V.i.2i2 206, 319
V.i.215 283
V.i.22i 167
V.i.248-9 353
V.ii.27 10
V.ii.34 344
V.ii.6o 23s
V.ii.82-3 74
V.ii.88 158
V.ii.ioi 366
V.ii.140 143
V.ii.157 152
V.ii.177 s.d 112
V.ii.183 178
V.ii.223 240
V.ii.248 223
V.ii.251 10
V.ii.268 315
V.ii.298 208
V.ii.300 257
V.ii.332 309
V.ii.349 378
V.ii.351 166
V.ii.354 280
V.ii.383 10
V.ii.388 55.305
I Henry IV
I.i.5 357
I.i.6 8
I.i.64 156-7
I.i.103-4 183
I.ii.i s.d 329
I.ii.i 57
I.ii.15 213
I.ii.36 385
I.ii.77 159
I.ii.103 . . 57
I.ii.io8 57
I.ii.ii8 154
I.ii.143 213
I.ii.153 112
I.ii.i66 10
I.ii.187 s.d 294, 329
I.iii.46 128
I.iii.77 169
I.iii.io6 207
I.iii.133 8
404
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
/ Henry IV {continued)
4-
I.iii.135.
I.U1.154.
I.iii.163.
I.iii.i86.
I.iii.189.
I.iii.196.
I.iii.251 .
I.iii.266.
I.iii.293-
H.i.2s..
H.i.86..
H.ii.i...
n.ii.4. .
n.ii.io. ,
H.ii.i2.
n.ii.28.,
n.ii.42. ,
H.iii.15.
n.iii.25.
n.iii.39.
H.iii.64.
n.iii.93.
H.iv.i s.d
H.iv.3. .
H.iv.ii .
n.iv.118
n.iv.175
n.iv.274
n.iv.300
n.iv.321
n.iv.355
n.iv.359
H.iv.372
n.iv.417
n.iv.437
n.iv.452
n.iv.458
H.iv.512
n.iv.s28
HI.i.66.
ni.i.133-
ni.i.197
HI. i. 205
III.ii.83.
in.ii.95.
III.ii.ii6
III.ii.124
III.ii.142
HI.ii.i8o
III.iii.24
III.iii.38
IH.iii.51
III.iii.112 . .
III.iii.129. •
III.iii.134. .
IV.i.13
IV.i.44
IV.i. 112-21 .
IV.i.119....
IV.iii.6i....
IV.iii.62. . .
6.
350
224
16
16
308
385
288
10
16
10
294
246
168
300
281
365
280
244
301
54, 271
171
246
246
310
241
313
299
304
347
279
171
274
283
16
297
259
298
267
267
208
273
222
183
215
27s
207
157
239
266
273
273
281
282
364
169
252, 333
382
392
II
317
IV.iii.68
....377-8
II.ii.46
IV.iii.94
.... 290
H.ii.56
IV.iv.38
282
II.ii.104. . . .
V.i.65
361
II. ii. 109-10
V.i.71
275
II.ii.ii8....
V.i.ioi
347
Il.iii.38
V.ii.63
290
II.iv.26. . . .
V.ii.78
159
II.iv.53....
V.ii.84
.... 388
II.iv.89
V.ii.86
390
II.iv.149. . .
V.ii.93-4
377
II.iv.189. . ■
V.iii.7
8
II.iv.289. . •
V.iii.32
.... 201
II.iv.359. . .
V.iv.43
. . . . 229
Ill.i.ii. ...
V.iv.ioo
282
III.i.I2....
V.iv.128
.... 264
HI.i.15....
V.iv.138
.... 200
III.i.28. ...
V.V.I
273
III.i.71. ...
V.V.15 s.d
• • • ■ 329
IH.i.82. ...
III.i.103. ..
2 Henry IV
III.ii.29. • • •
III.ii.98....
Ind. 15
17
HI.ii.i90. . .
Ind. 28
244
III.ii.260...
I.i.i
. . . . 10
III. ii. 272. . .
I.i.2
274
HI. ii. 272-3
I.i.27
297
IV.i.3
I.i.36
157
IV.i.io
I-1-44
. . . . 283
IV.i.52
I-1-59
.... 187
IV.i.I02....
I-1-79
. . . . 283
IV.i.119....
I.i.108
.... 378
IV.i. 144-5..
I-i-i39
. . . . 291
IV.i.185....
I.i.178
.... 123
IV.iii.27. . . .
I.ii.4
364
IV.iv.124. .
I.ii.17
. . . . 347
IV.v.32-3..
I-ii-23
18
IV. V. 109. . .
I.ii.28
. . . . 264
IV. V. 120. . .
I-ii-33
284
IV.V.125. . .
I.ii.41
282
IV.V.131...
I-i!-95
.... 154
IV.V.152. . .
I.ii.109
256
IV.V.195. . .
I.ii.iii
364
IV.V.200. . .
I.ii.ii2
.... 318
IV.V.206. . .
I.ii.126
. . . . 10
IV.V.221-5.
I.ii.159-60
286
IV.V.234. . .
I.ii.179
. . . . 283
V.ii.i
I.ii.196
339
V.ii.i8
I.ii.214
. . . . 112
V.ii.8o
I.iii.24
. . . . 300
V.ii.i 25. . . .
I-iii-79
329
V.iii.13. . . .
I.iii.83
329
V.iii.24. . . .
I.iii.94
. . . . 229
V.iii.53
II.i.26
302
V.iii.113 . . .
II.i.28
302
V.iii.ii6. . .
n-i.57-8
.. .56, 251
V.iii.138. . .
II. i. 149
171
V.V.28
II. 1.150
. . . . 267
V.V.36
II.i.175-6
294
V.V.41
H.ii.i
294
V.V.69
II.ii.6
.... 328
V.V.108
II.ii.19
.... 165
Epil. 20. . . .
II.ii.31
294
D. P. 27...
INDEX
405
Henry V
34-
Prol. 9....
I.i.8
I-i-34
I-i-97
I.ii.38....
I.ii.90. . . .
I.ii.131. . .
I. ii. 188-204
I.ii.287. . ,
I.ii.297 . . ,
II.i.34...
II.1.113. .
II. i. 114. .
II. ii. 29-31
II.ii.7S...
II.ii.87. . .
II.ii.103. .
II.ii.140. .
II.ii.159..
II.ii.176. .
II.ii.i8i..
II.ii.193. .
II.iii.3. . .
II.iii.6.. .
II.iii.12. .
II.iii.25. .
II.iv.43. .
II.iv.132
III. Prol
III.i.17.
III.i.24. ..
III.ii.55-.
III.ii.59...
III.ii.72. . .
III. ii. 102. .
in.iii.32 . .
III. iv. 1-57
Ill.iv.i...
III.iv.22-3
III.iv.52. .
III.iv.57. .
III.v.ii...
III.V.26...
III.vii.12. .
III.vii.45-(
III.vii.148,
IV. i. 184...
IV.i.213. . .
IV.i.22I . . .
lv.i.229. . .
Iv.i.241...
lv.i.262...
IV. i. 271. . .
IV.ii.i....
IV.ii.2....
IV.ii.25...
IV.iii.49. .
IV.iii.105 .
IV.iv.6o. .
IV.iv.66. .
IV.iv.67. •
361
191
244
236
137
8
255
380
340
301
390
134
165
323
345
134
o, 200
358
99-100
183
126
112
256
256
319
159
207
39. 329
314-5
146
321
210-1
366
366
124
1 10
190
246
137
48, 246
126
137
118
105
274
136
362
58,319
126
306
141
201
138
49-50
246
118
222
no
10
16
216
IV.v.ii...
IV. V.I 5...
IV.vii.107.
IV.vii.112.
IV vii.157.
IV.viii.25.
IV.viii.94.
IV.viii. 104
IV.viii. no
IV.viii.iii
V. Prol. 7.
V. Prol. 10
V.i.83..
V.ii.io. .
V.ii.i2. .
V.ii.15-6
V.ii.40. .
V.ii.45..
V.ii.84..
V.ii.93..
V.ii.137.
V.ii.142.
V.ii.217.
V.ii.263.
V.ii.300.
V.ii.313.
V.ii.325.
176
176
lOI
249
211
257
8
197
361
37, 105
205-6
118
254
10
lOI
118
256
63, 322
229
327
257
313
303
302
372
118
/ Henry VI
I.i.49. . .
I.i.65...
I.i.76. . .
I.i.78. . .
I.i.137. .
I.i.165..
I.ii.41 . .
I.ii.86. .
I.ii.103 .
I.ii.127 .
I.ii.132 .
I.iii.29. .
I.iii.34. .
I.iii.49. .
I.iii.59. .
I.iii.6o. .
I.iii.62. .
I.iii.8i..
I.iii.84..
I.iii.87..
I.iv.25. .
I.iv.6o. .
I.iv.95..
I.V.26. .
I.vi.2. . .
I.vi.4. . .
II.i.42 . .
II.i.63..
II.ii.6. .
II.ii.38..
II.iv.117
II.iv.132
II.V.19. .
118
229
198
267
259
229
207
118
15
183
183
195
54, 271
237
229
300
229
183-4
204
317
326
198
39, 174
44, 207
44, 229
229
327
II
105
190
105
100
10
II.V.47
II.V.66
II.V.71
II.V.75
II.V.78
III.i.86. ..
III. i. 163. .
III.i.171. .
III. i. 199. .
III.ii.31...
III.ii.41...
III.ii.73...
III.ii.99. . .
III.iii.62. .
III.iv.22 . .
IV.i.2
IV.i.48....
IV.i.65....
IV.i.173 S.d
IV.i.191...
IV.i.194. . .
IV.ii.3....
IV.ii.6....
IV.ii.50...
IV.ii.56...
IV.iii.5...
IV.iii.50. .
IV.iii.53. .
IV.iv.25. .
IV.iv.26. .
IV.vii.33. .
IV.vii.70. .
IV.vii.94. .
V.i.i
V.i.27. . . .
V.i.39
V.1.49
V.ii.i
V.ii.3
V.111.53. . .
V.iii.57. . .
V.iii.68. . .
V.iii.77. . .
V.iii.85. . .
V.iii.95. . .
V.iii.126. .
V.iii.179. .
V.iii.184 s.d
V.iii.192 .
V.iv.28. .
V.iv.70. .
V.iv. loi .
V.iv.133.
V.V.39.. .
V.V.46.. .
V.V.55..-
V.V.64.. .
16
275
118
118
229
201
118
324-5
118
296
249
184
268
203
126
328
119
15
254
310
242
124
16
333
112
150
355
112
124
230
225
199
128
225
275
275
322
297
16
343
[32, 315
199
268
256
368
301
105
325
177
123
119
16
356
199
199
230
230
2 Henry VI
I.i.7..
1. 1.34.
I.i.64.
230
296
230
406
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
2 Henry VI (
c 072 tinned)
I.i.69
.... 126
1. 1.130
.... 257
I-1-I73
.... 128
I.i.224
.... 257
I.ii.76
293
I-11-97
.... 312
I.ii.ioi
.... 361
I.iii.49
71
I.iii.66
119
I.iii.99
225
I.iii.io2
364
I.111.115
355
I.iii.144
.... 237
I.iii.148
184
I.iii.2i2
349
I.iv.i2
362
I.iv.26
.... 10
I.iv.36
.... 264
I.iv.48
300
n-i.34
. . .44, 230
n.i.85
■ 300,348
II-1-93
.... 316
n.i.96
300
n.i.ioS
.... 138
n.ii.15
.... 246
H.ii.i6
312
H.ii.2o
230
H.ii.27
.... 230
n-n-S3
.... 128
n.ii.56
..359,372
H.iii.2i
340
n.iii.42-3. . . .
.... 261
H.iii.71
.... 316
n.iii.74
364
H.iii.78
.... 316
H.iii.96
. . .36, lOI
n.iv.i2
199
ni.i.i
.... 225
Hi.i.98
199
ni.i.117
364
HI. i. 232
301
IH.i.286
.... 300
III.i.306
.... 207
III.i.333-4. ..
71
Ill.ii.ii
. . 200, 376
III.ii.147
8
in.ii.175
230
III.ii.182
9, 319
III.ii.225
■•■. 337
III.ii.262
.... 216
ni.ii.347
.... 365
III. 11. 359
.... II
III.ii.366
.... 300
III.ii.369
.... 316
ni. 11.373
.... 365
III. 11.374
.... 365
ni. 11.399
.... 314
III. ii. 406
213
IV.i.20
280
IV.i.32
255
IV.i.63
IS
lv.i.74.
IV.i.77.
IV. i. 107
IV.i.117
IV.i.134
IV.ii.8.
IV.ii.15
IV.n.33
IV.ii.79
IV.ii.96
IV.ii.102.
IV.ii.132.
IV.ii.146.
IV.iii.12.
IV.iv.24.
IV.iv.50.
IV,iv.57.
IV.iv.58.
I V.V.I s.d
IV.vii.25.
IV.vii.68.
IV.vii.79.
IV.vii.8i.
IV.vii.84.
IV.vii.98.
IV.viii.6i
IV.ix.i8..
IV.ix.29.
IV.ix.33.
I V.X.I...
IV.x.25-6
IV.X.54
IV.X.69
V.i.32 .
V.i.6o.
V.i.63.
V.1.93.
V.i.95.
V.i.ioo
V.i.iii
V.i.113
V.i.135
V.i.2oi
V.i.207
V.i.2ii
V.ii.27
V.ii.28
V.ii.36
V.ii.45
V.ii.74
V.iii.i2
316
127
283
48, 137
328
362
302
321
139, 208
136
213
354
201
297
184
230
16
100
325
367
365
18, 242
241
63, 321
278
200
300
8
322
128
249
377
230
230
360
203
15
8
207
36, lOI
177
177
230
306
138
16
231
300
300
J Henry VI
62.
.112.
.131.
.168.
.170.
.199.
.205.
231
119
256
231
119
275
231
219
I.i.224 231
I.i.259.
I.i.261 .
1.1.273.
I.ii.4. .
I.ii.38
I.ii.64
I.iii.4
I.iv.64
I.iv.68
I.iv.117. . . .
I.iv.150. . . .
I.iv.151
I.iv.153
I.iv.180. . . .
n.i.83
H.i.96
II.i.158....
II. ii. 89-92. .
II.ii.172. . . .
II.iii.43
II. v. 54 s.d..
II.V.62
II.v.79
H.V.83
II.V.90
II.V.9S
II. V. 119. . . .
II.V.122. . . .
II.vi.6
II.vi.9
II.vi.8o
II.vi.86
III.i.17. ...
III.i.19
III.i.20....
III.i.8o-i. .
III.ii.22. . . .
III.ii.57....
III.ii.io8...
Ill.ii.iio. . .
III.ii.112. . .
III.ii.123. . .
III. ii. 144. . .
III.ii.193. . .
III.iii.117. .
III.iii.156. .
III.iii.165-6
III.iii.172 . .
III.iii.253 . .
IV.i.8 s.d...
IV.i.29
IV.i.41
IV.i.89-90.
IV.i.103....
IV.iii.23 . . .
IV.iii.27 s.d.
IV.iv.4. . . .
IV.iv.19. • '
IV.iv.28. . .
IV.V.4
IV.V.8
IV.V.21
IV.vi.55...
INDEX
407
J Henry VI {continued)
IV.vi.76
IV.vi.88
IV.vii.8.
IV.vii.39
V.i.78.
V.i.91.
V.iv.i6
V.iv.34
V.V.I. .
V.V.16.
V.vi. 10
V.vi. 1 7
v.vi.as
v.vi. 4 1
V.vi.42
V.vi. 5 1
V.vii. 17
V.vii.25
V.vii. 28
V.vii. 30
279
126
139
268
105
293
71
364
206
275
374
340
279
231
119
199- 358
10
292
312
290
Henry VIII
Prol. 3.
I.i.2...
I.i.7...
I.i.19. .
I.i.47..
I.i.48. .
I.i.96..
I.i.117.
I.i.123.
I.i.143.
I.1.154.
I.i.171.
I.i.183.
1. 1.194.
1.11.3. •
I.ii.7. .
I.ii.2i .
I.ii.58.
I.ii.87.
I.ii.94.
I.ii.iio
I.ii.170
I.ii.175
I.ii.176
I.iii.4. .
I.iii.14.
I.iii.31.
I.iii.34.
I.iii.36.
I.iii.43.
I.iii.49.
I.iv.54.
II.i.18.
II.i.41.
II.i.48.
II.i.62.
II.i.89.
II.ii.82.
340
298
9
203
323
340
190
298
299
374
141
299
134
372
346
265
372
328
63. 343
328
344
320
lo-i
298
395
19- 251
371
no
354
364
279
369
321
293
297
363
174
n.ii.83
... 328
II.ii.io2
... 334
II.iii.12
... 371
II.iii.17
... 232
II.iii.36
16
II.iii.47
II
Il.iv.i s.d
••• 315
Il.iv.i
219
II.iv.42
... 10
II.iv.46
15
II.iv.62
.•• 356
Il.iv.iio
... 207
II.iv.140
. . . . 10
n.iv.159
■44, 207
II.iv.i66
... 214
II.iv.183
106
II.iv.196
... 245
II.iv.224
... 243
II.iv.232
... 288
II.iv.239
.150-334
III.i.22
15
III.i.26
... 136
III.i.42.
10
in.i.83
... 150
in.i.85
... 265
III. i. 122
. . . 219
III.i.164
71
III.i.175
... 301
III.i.175-6
• • • 334
III.ii.31
• . ■ 345
III.ii.53
... 282
III.ii.58
16
III. ii. 104
... 358
III. ii. 127
. • ■ 363
III.ii.131
... 239
III. ii. 132
... 361
III. ii. 142
106
III.ii.156
15
III. ii. 172
... 193
III. ii. 206
... 393
III. ii. 240
■ • ■ 373
III. ii. 292
... 131
III.ii.374
■ • • 340
III.ii.382
292
III.ii.399
... 293
III.ii.413
... 369
IV.i.14
16
IV.i.20-3
... 323
IV.i.34
... 259
IV.i.S5
... 251
IV.i.ioi
... 329
IV.i.104
... II
IV.ii.2
... 208
IV.ii.7
106
IV.ii.29
• . • 345
IV.ii.82
... 341
IV.ii.89
... 241
IV.ii.130
■ . . 203-4
V.i.i
... 328
V.i.6
... 257
V.i.20
... 278
V.i.28
... 299
V.i.6s
... 369
V.1.I56-7. .
V.ii.8...
y.ii.9...
V.iii.44.
V.iii.119
V.iii.i68
V.iii.172
V.iii.174
V.iv. 2 .
V.iv.14
V.iv.34
V.iv. 44
V.iv.66
V.iv. 73
V.iv. 8 1
V.V.37.
Epil. 3.
Epil. 5.
.i.8.
.1.9.
.i.ii
.i.49
.1-75
.1.147
.1.203
.1.215
.i.228
•i..2 57
I.i.29
I.i.35
I.i.65
I.i.67
I.i.75
I.i.io6
I.i.113
I.i.171
I.i.175
1.1.335
1.1.367
1.1.494
I.i.541
1.1-575
II.i.56
II. i. 102
II. i. 106
II. i. 122
II.i.165
II. i. 217
II.iii.72
II.iv.19
II.iv.44
II.iv.138
II.iv.171
II.iv.182
V.i.23...
V.i.50. .
V.i.81...
V.i.96...
V.ii.i...
V.ii.42. .
John
232
no
373
395
308
299
188
lOI
329
329
299
299
276
364
328
327
317
71
329
246
141
328
los
139
332
369
321
365
365
203
365
353
333
loS
373
368
105
339
16
261
364
365
364
277
369
257
339
298
328
320
328
259
no
fi.343
364
136
328
146
10
408
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
John {continued)
IV.ii.73.
IV.ii.115
IV.ii.135
IV.ii.171
IV.ii.216
IV.ii.241
IV.iii.41
IV.iii.48
IV.iii.119
V.i.i6..
V.ii.41 . .
V.ii.43..
V.ii.56..
V.iv.2-3
V.iv.17.
V.V.I I..
V.vi.22 .
V.vii.i6.
V.vii.33-
V.vii.43.
V.vii.99.
325
360
364
16
256
328
258
328
368
372
328
320
8
261
364
215
328
8
374
364
259
Julius Caesar
I.i.2.
I.i.23
I.i.50
I.i.69
Li. 70
I.ii.24 s.d
I.ii.36. .
I.ii.52-3
1. 11. 135.
I.ii.183.
I.ii.203 .
I.ii.205 .
I.ii.272 .
I.ii.273.
I.ii.284.
I.ii.300.
I.ii.301.
I.ii.309.
I.iii.2i . .
I.iii.36. .
I.iii.55..
I.U1.74..
I.iii.8i..
I.iii.137.
I.iii.143.
H.i.67. .
n.i.74..
H.i.76. .
H.i.83..
H.i.139.
n.i.177.
n.i.213 .
H.i.215.
n.i.263 •
n.i.298.
n.i.319.
II.ii.22. .
64
377
16
365
II
16
360, 371
16,353
240
16
288
382
396
266
344
190
256
202
120
342
305
382
8
301
10
329
121
14
369
72,388
360
369
327
40, 194
8
369
365
H. 11.23. . .
n.ii.67...
Hl.i.i s.d
HI.i.36. .
HI.i.75..
ni.i.114.
HI. i. 205 .
HI. i. 207.
III. i. 210.
III.i.284.
III.ii.i8..
III.ii.6s..
III.ii.67..
III.ii.70. .
III. ii. 104. . .
III.ii.221 ...
III.ii.256...
III.ii.260 s.d
III.ii.272.
III.iii.6...
III.iii.13..
III.iii.37 . .
IV.i.6
IV.i.38....
IV.i.44-..-
IV.ii.26. ..
IV.iii.i s.d
IV.iii.4-s.
IV.iii.27 • ■
IV.iii.131 .
IV.iii.177.
IV. iii. 254-5 .
IV.iii.248. .
V.i.17
V.i.44
y.i.6i
v.i.109. . . .
V. iii. 20. . . .
V. iii. 46 s.d..
V.iv.26. . . .
V.V.28
V.V.64
Lear
I.i.i s.d. . .
I.i.2o
I-i-23
I-i-4S
I.i.109. . . .
I.i.iio. . . .
I.i.148
I.i.154
I.i.170. . . .
I.i.i7S
I.i.176. . . .
I.i.194
I.i.196. . . .
I.i.197
I.i.214. . . .
I.i.247
I.i.282 s.d.
I.i.291 . . . .
124
364
39, 178
364
237
129
21 1
139
208
III
202
364
364
245
127
107
234
126
284
257
257
16
327
371
199
38s
126
188
242
328
284
II
144
371
257
8
300
216
42, 112
336
299, 300
285
246, 329
■ • 300
14
108, 258
15
• • 354
164
164
.. 328
■ ■ 235
272
• • 23s
253
164, 168
. . 284
• • 254
12
I.ii.SS. .
I.ii.76. .
I.iv.4. . .
I.iv.i8..
I.iv.24. .
I.iv.40. .
I.iv.50..
I.iv.65. .
I.iv.66. .
I.iv.68. .
I.iv.97. .
I.iv.98. .
I.iv.io6.
I.iv.128.
I.iv.129.
I.iv.159.
I.iv.176.
I.iv.195-
I.iv.202.
I.iv.215.
I.iv.291 .
I.iv.302.
I-iv.333.
I.V.18.
I.V.34.
I.V.38.
II.i.40.
n.i.53-
II.i.89.
II. i. 112
II.ii.21 . .
II.ii.53..
II. 11.73-4
II.ii.141 .
Il.iii.i..
II. iii. 10.
II.iii.19.
II.iv.2. .
II.iv.7. .
II.iv.9. .
II.iv.30.
II.iv.53.
II.iv.56.
II.iv.89.
II.iv.io8
II.iv.121
II.iv.129
II.iv.146
II.iv.182
II.iv.211
II.iv.285
III.ii.71.
III.ii.95.
III.iv.55
III.iv.62
III.iv.74
III.iv.8o
III.iv.91
III. iv. 117
III. iv. 139
III.iv.141
III.vi.62.
III.vi.69.
66
297
301
364
275
369
314
369
314
155
266
283
164
207, 300
36-7
223
314
303
347
292
286
364
238
245
270
152
161
297
360
!9- 347
208
266
302
100
142
212
329
318
253
I, 369
287
316
309
328
329
63, 344
INDEX
409
Lear {continued)
III.vi.74.
III.vi.77.
III.vii.9. .
III.vii.17.
III.vii.29.
IV.i.3....
IV.i.9 s.d.
IV.i.26...
IV.i.37...
IV.i.39...
IV.ii.75..
IV.V.2S..
IV.V.39. .
Iv.vi.33-4
lv.vi.41 .
IV.vi.49.
IV.vi.52 .
lv.vi.140
lv.vi.167
IV.vi.I87
IV.vi.228
IV.vi.263
IV.vi.267
lv.vi.271
IV.vi.279
IV.vii.24.
lv.vii.31 .
IV.vii.49.
v.i.42 . . .
V.i.68. . .
V.ii.ii...
V.iii.13 . .
V.iii.77. .
V.iii.98. .
V.iii.117 .
V.iii.224.
V.iii.225 .
V.iii.230.
V.iii.234.
V.iii.248.
V.iii.310.
V.iii.312 .
V.iii.322 .
224
71
141
71
326
236
273
282
316
287
159
220
170
299
220
16
72
265
301
129
152
47- 238
342
351
328
266
312
271
II
390
152
152
126
164
299
10
363
295
360
131
213
216
42, 224
Love's Labour's Lost
I.i.
I.i.
I.i.
I.i.
I.i.
I.i.
I.i.
I.i.
I.i.
I.i.
I.i.
I.i.
I.i.
I.i.
I.i.
I s.d.
12. . .
13. . .
23...
28. . .
50...
77. ..
109. .
no. .
114. .
117.
161. ,
164. .
225.
246. ,
139
139
299
238
139
331
387
180
142
140
114
224
130
147
71
I-i-257
■•■ 145
I.i.286
112
I.ii.i
... 197
I.ii.io
••• 174
I.ii.ii
■•• 174
I-ii-i3-S
. . . 274
I.ii.i6
■■• 174
I.ii.27
• • ■ 347
I-ii-33
. . . 208
I-11-97
. . . 142
I.ii.117
... 142
I-ii-i33
. . . 159
I.ii.138
••• 179
I.ii.148
. . . 12
I-ii-i74
190
II. i.i
• • ■ 293
II.i.2
... 130
II.i.19
■ -44. 244
II.i.21-34
. . . 161
II.i.40
... 236
II.i.45.
. . . 114
II.i.6o
. . .168-9
II.i.66
... 329
II.i.69
. . . 10
II. i. 124
■•■ 313
II. i. 142
. . . 142
II. i. 144
■ • • 365
II. i. 193 s.d
• ■ • 139
n.i.i9S
112
II. i. 207
... 139
II. i. 209
... 329
II. i. 214
■139.329
III.i.14
••• 133
III.i.6o
112
III.i.67
• • • 143
III.i.68
267
III.i.69
■ ■ • 244
III. i. 126
112
in.ii33
• ■ ■ 294
III.i.150
... 316
III. i. 160
210
III. i. 162
210
III.i.179
... 147
III.i.i8o
• • • 103
III.i.182
. . . 224
III. i. 190
■ ■ • 147
III. i. 194
... 115
IV.i.14
. . . 180
IV.i.32
... 195
IV.i.67
. 122, 138
IV.i.71
... 281
IV.i.76
71
IV.i.77-8
260
IV.i.8o
... 139
IV.i.97
... 319
IV.i. 108-9
276
IV.i.123
• • • 330
IV.i. 129
• 142, 372
IV.i.137
••■ 139
IV.i.141
•■■ 133
IV.i. 142 s.d
... 136
IV.ii.5
• • • 303
IV.ii.35
... 176
IV.11.54
192
IV.ii.74
. .. 319
IV.ii.76
... 171
IV. ii. 89-90
■ 48, 137
IV.ii.92-3
190
IV.ii.114
. . . 225
IV.ii.123
• • • 303
IV.ii.129
• • ■ 303
IV.ii.130
... 319
IV.ii.148
. . . 190
IV.iii.i
. . . 329
IV.iii.66
• • . 115
IV.iii.97
... 139
IV.iii.ioi
.•• 331
IV.iii.104
122
IV.iii.i 19
... 329
IV.iii.128
■ • • 277
IV.iii.138
... 176
IV.iii.142
. . . 180
IV.iii.i 75
... 252
IV.iii.176
... 181
IV.iii.i88
10
IV.iii.196
• . • 309
IV.iii.199
• • • 139
IV.iii.208
112
IV.iii.214
• ■ . 277
IV.iii.220
... 328
IV. iii. 238-9
. . . 380
IV.iii.255
.176,321
IV.iii.279
... 115
IV.iii.280
. . . 139
IV.iii.289
162
IV.iii.312-3. . . .
. . . 111-2
IV.iii.338
... 316
IV.1u.339
272
IV.111.357
... 115
V.i.4
207
V.i.8.. .
... 258
V.i.io-V.ii.254. .
29
V.i.13
... 257
V.i.2I
• -54, 265
V.i.22
... 258
V.i.30
... 138
V.i.8o
192
V.i.105
99
V.ii.i
... 113
V.ii.14-8
122
V.ii.17
... 293
V.ii.37
... 370
V.ii.5S
... 154
V.ii.65
. .44. 191
V.ii.66
221
V.ii.70
... 147
V.ii.74
140
V.ii.103
... 278
V.ii.i2i
... 287
V.ii.i22
290
V.ii.133
. • • 259
V.ii.148
... 132
V.ii.152
99
V.ii.164
... 179
V.ii.170
... 179
V.ii.178
••• 321
410
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Loves Labour's Lost
{continued)
V.ii.
V.ii.
V.ii.
v.ii.
v.ii.
v.ii.
v.ii.
v.ii.
v.ii.
V.ii.
V.ii.
v.ii.
v.ii.
v.ii.
V.ii.
V.ii.
v.ii.
v.ii.
v.ii.
v.ii.
v.ii.
v.ii.
v.ii.
v.ii.
224.
251-
273-
309-
332.
35°-
368.
373-
377-
385.
392-
419.
439-
446.
454-
472.
511-
540.
543-
617.
633-
662.
725-
793-
Macbeth
I.ii.5...
I.ii.ii . .
I.ii.13. .
I.ii.2i . .
I.ii.26. .
I.ii.39. .
I. II. 47- •
I.ii.63. .
I.iii.96. .
I.iii.108-9
I.iii.112-3
I.iii.125
I.iv.i . .
I.iv.17. .
I.V.25. .
I.V.44. .
I.V.S9- ■
I.vi.23. .
I.vii.17 .
I.vii.39.
I.vii.58.
n.i.14..
n.i.i6-7
n.i.6o-i
n.ii.63..
H.iii.6. .
n.iii.56.
n.iii.i2o
n.iii.142
H.iv.io.
n.iv.28.
n.iv.40.
ni.i.2..
221
IIS
252, 325
45, 226
281
203
376-7
145
48, 136
372
364
10
297
IIS
297
193
"3
71
30s
283
208, 300
• • 295
342
142
369
189
II
10
219
364
186
234-S
2,388
107
8
14
250
276
270
292
364
23s
242
23s
391
71
207
16
235
277
24s
23s
41, 219
ni.i.13.
ni.i.64.
ni.ii.20.
ni.ii.28.
ni.ii.30.
ni.iii.6.
ni.iii.7.
ni.iv.5.
n1.1v.34
ni.iv.73 s
ni.iv.78.
ni.iv.ioi
ni.iv.io6
ni.iv.ii6
ni.iv.i2i
nl.iv.133
nl.iv.137
nl.v.23. .
nl.v.27. .
nl.vi.26.
IV.i.2....
Iv.i.83...
lv.i.98...
lv.i.119..
lv.i.136..
IV.ii.33 . .
IV.ii.63. •
Iv.ii.68-9
IV.iii.26.
IV.iii. 33.
IV.iii.59.
IV.iii.88.
IV.iii. 107
IV.iii. 133
IV.iii. 1 80
V.i.36...
V.1.42-3.
V.ii.5...
V.11.31. .
V.iii.2. .
V.iii.2i .
V.iii.32 .
V.iii.35.
V.iii.36.
V.iii.39.
V.iii.42 .
V.iii.46.
V.iii.48.
V.iii.S5.
V.iii.6o.
V.iv.3 . .
V.iv.14-
V.V.30.
V.V.34.
V.V.44.
V.V.48.
V.vii.ii s.d.
V.viii.19. . .
239
306
194
23s
23s
8
107
23s
1 1
112
187
259
112
14
126
I, 219
8
71
270
187
16
7S
138
256
9, 3S8
10
274
iSi
216
297
8
306
107-8
6, 102
369
256
288
38, 293
138
38, 259
178
200
300
24s
342
245
364
178
138
38, 259
16
II
138
138
300
256
Measure for Measure
I.iii.io.
I.iii.49.
•43. 114
15
I.iv.82
14
II.i.88
210
II.i.96
• 215
II. i. 229
201
II.i.264
• 205
II.ii.S8
114
H.11.59
• 38s
H. 11.74
• 392
II. ii. 100-4
. 382
II.ii.102
• 393
Il.ii.iii
. 114
II.ii.117
45, 226
II.iv.27
• 371
II.iv.76
• T-i2,
Il.iv.iii
207
Ill.i.S
. 388
III.i.9
• 393
III.i.13
• 392
III.i.19
■ 389
III.i.20 3
87.392
III.i.28 3
89- 394
III. i. 29 320, 3
83-392
in.i.34
392
III. i. 38-40
■395-6
III.i.40
. 388
ni.i.53
• 38
III.i.S3-4
. 172
in.i-9s
. 217
III.i.97-8
. 217
III.i.131
102
ni.i.153
112
III.i.171
112
III.i.172
112
III.i.20I
• 370
III. i. 209
•36,99
III. i. 221
• 316
III.ii.36
226
III.ii.79
112
III.ii.176
■ 394
III.ii.211
• 251
III. ii. 242
112
IV.i.6o
. 127
IV.ii.8s
• 3S5
IV.ii.107
• 395
IV.ii.i68
•355-6
IV.iii.4
■ 395
IV.111.43
■ 391
IV.iii. 1 20
■ 364
IV.iv.5
• 175-6
V.i.4
■ 205
V.1.54-5
• 331
V.i.95
• 328
V.i.io2
• 356
V.i.iS4
. 213
V.i.i68
100
V.i.177
211
V.i.242
45> 226
V.i.373
213
V.i.421
102
V.i.480
• 362
V.i.482
15
V.i.537
99
INDEX
411
The Merchant
of Venice
I-i.54
390
I.i.56
.... 391
I.i.82
339
I.i.89
394
I-i-93
.... 385
I-1-97
394
I.i.98
395
I-i-99
392
I.i.114
393
I.i.136
.... 296
I-i-i55
181
I.ii.6-7
....367-8
I.ii.14
391
I.ii-15
392
I.ii.22
171
I.ii-49
294
I.ii.50-8
.... 274
I.ii-Si
.... 10
I-11-54
.... II
I.ii.85
293
I.iii.18
. .191.378
I-iii-33
191
I.iii.67
.... 378
I-iii-74
.... 356
I.iii.82
299
I.iii-97
390
I.iii.io2
.... 329
I.iii.107
.... 257
I-ill-^55
.... 378
I.iii.163
.... 201
I.iii.174
.... 156
II.ii.3
294
II.ii.4
294
II.ii-7
294
n.n.39
327
11.11:175
.... 264
Il.iii.ii
.... 122
n.iii.73
15
II.iv.5
373
II.iv.8
.... 283
II.V.I
.... 278
II.vi.3
393
II.vi.14
.... 383
II.vi.51
.... 156
Il.vii.io
273
II.ix.72
197
III.i.6o
147
III.i.68
.... 378
in.i.79
193
Ill.i.Ss
.... 368
III.i.92
.... 368
III.ii.14
282
III.ii.17
.... 176
III.ii.6i
.... 260
III.ii.8i
103
III.ii.97
217
Ill.ii.ioi
.... 162
III. ii. 149
284
III.ii.155-6...
.... 227
III.ii.162
.... 227
III.ii.200
••.. 332
III. ii. 232
. . . . 10
II.ii.245
10
III.ii.246
284
II.iii.3
... 258
III. ii. 304
181-2
II.iii.6
71
Ill.iv.ii
. . . . 386
II.iii.26
... 293
in.iv.13
282
III.i.20
210
III.iv.20
147
III.i.62
210
IV.i.72
309
III.ii.63
• .57, 294
IV.i.74
.... 182
III.iii.35
112
IV.i.ii6
. . . . 10
III.iii.55-6....
... 147
IV.i.128
294
III.iii.62
... 300
IV.i.153
299
III.iii.74
112
IV.i.i68
299
III.iii.8o
112
IV.i.187
396
III.iii.151
71
IV.i.191
390
III.iii.170
... 145
IV.i.263
15
III.iii.174-5. . .
... 20s
IV.i.267
198
Ill.iv.i s.d
71
IV.i.348
.... 356
III.iv.62
. . . 360
IV.i.418
. . . . 169
III.V.65
. ■ • 36s
V.i.17..,
. .227, 275
IV.ii.9
112
V.i.2o
• .227, 275
IV.ii.33
202
V.i.41
55
IV.ii.39
112
V.i.41-2
294
IV.ii.66
... 365
V.i.49
14
IV.ii.71
112
V.i.51
.... 182
IV.ii.89
... 133
V.i.56
148
IV.ii.96
112
V.i.S9
217
IV.ii.98
240
V.i.62
303
IV.ii.99
... 136
V.i.8o
8
IV.ii.103
• .38, 109
V.i.84
.... 386
IV.ii.159
99
V.i.87
139
IV.ii.i6o
112
V.i.131
15
IV.ii.163
... 271
V.i.189
.... 240
IV.ii.164
112
V.i.244
208
IV.ii.177
112
V.i.288
217
IV.iv.io
192
IV.iv.20
210
The Merry Wives of
IV.iv.29
226
Windsor
IV.iv.42-3 ....
71
IV.iv.6o
71
I.i.I2
. . . . 296
IV.iv.64
... 251
I.i.23
.... 209
IV.V.28
... 208
I.i.32
.... 209
IV.v.58
112
I.i.40
.... 209
IV.V.66
112
I.i.67
. . . . 212
IV.V.71
... 366
I.i.44
. . . . 10
IV.V.75
112
I.i.i50
.... 366
IV.V.82
112
I.i.i9S
330
IV.V.85
112
I.iii.76
8
IV.vi.i6
... 197
I.iv.i
71
V.ii.3
99
I.iv.39
71
V.ii.io
... 257
I.1V.45
.... 246
V.iii.19
212
I.iv.84
208
V.iv.3
210
I.iv.107
.... 366
V.V.I
... 257
Il.i.i
....132-3
V.V.51
... 364
II.i.9
• . . . 297
V.V.105
.192, 238
II.i.19
.... 318
V.V.136
... 136
n.i.44
331
V.V.194
210
n.i.77
359
II. 1.103
217
A Midsummer Night's
II. i. 120
259
Dream
II. i. 121
.... 316
II.i.2o8
359
I.i.27 45, 226-7
II.ii.184
71
I.i-54 71
II.ii.214
.... 365
I.i.8i
•205,352
412
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
A Midsummer Night's
Dream (continued)
I.i.125
I.i.132
I.I.187
I.i.232
I.i.239
I.ii.8-9. .
I.ii.58-9.
n.i.47.--
n.i.59-..
n.i.80. . .
n.i.io6. .
II. i. 107. .
II. i. 112 . .
II.i.115-6
II. i. 149. .
II. i. 171. .
II.i.176. .
II.ii.68...
II.ii.104. .
II.ii.154. .
III.i.3...
III.i.95..
in.i.98. .
III.i.176.
III.i.181.
III.ii.5...
III. ii. 94-9
III. ii. 201 .
III. ii. 202.
III. ii. 210.
III. ii. 304.
III. ii. 320.
III. ii. 343.
III.ii.364.
III. 11. 374.
III. ii. 379.
III. ii. 414.
III. ii. 435.
III. ii. 438.
III. ii. 440.
III. ii. 441 .
IV.i.2I
IV.i.27
IV.i.46
IV.i.79
IV.i.8i
IV.i.88
IV.i.114.,
IV.i.119..
IV.i.2io. .
V.i.28-31
V.i. 66-70
V.i.125 . .
V.i.138..
V.i. 144. .
V.i. 147. .
V.i.190-1
V.i. 196. .
V.i. 214. .
V.i. 237-8
208
181
187
328
43> 181
370
169
300
15
171
62, 365
282
356
115
10
300, 301
112
156
176
189
364
126
300. 365
112
248
145
274
181
297
347
358
274
161
71
348
168
181
283
96, 345
251
251
209
283
339
285
181
15
122
378
327
"5
115-6
16
142
181
316
8, 210
169
237
277
V.i. 266 191
V.i. 420 295
Much Ado About Nothing
.1.40
.i.41
.i.41-3
.i.6i.
.i.74-
.i.87.
.1.147
.i.i8o
.i.183
.i.225
.1.250
.iii.io
Li. 12
Li. 34
Li. 47
I.i.87-
I.i. 87-96
Li. 90.
Li. 92 .
Li. 94.
Li. no
Li. 116
I.i.125
Li. 152
I.i.158
I.i.i68
Li. 176
Li.182
Li. 245
Li.320
I-i-343
Lii.7. . .
Liii.65.
I.iii.ioo
I.iii.215
ILi.I2
II.i.14
II.i.6o
ILi.6i
II.i.62
II.i.65
ILi.66
II.i.67
ILi.79
II.i.96
II.i.io6
II. i. 107
II.ii.93.
ILii.i2i
II.iii.71
II.iii.73
II.iii.87
II.iii.123
II.iv.7.
Il.iv. 10
II.iv.i6
Il.iv. 19
II.iv.57
-4
156, 365
274
369
15
14
300
64, 371
202
316
74
15
73
293
236
289
56
208
274
320
297
389
364
221
287
240
207
73
74
208
IS
14
188-9
12, 226
393
392
384
384
393
396
173-4
331
353
364
74-5
126, 264
377
210
210
300
274
274
274
70, 294
• 316
ni.v.35.
IV.i.22..
IV.i.43..
IV.i.56..
IV.i.67..
IV.i.75..
IV.i.78..
IV.i.126.
IV.i.137.
IV.i.148.
IV.i.152.
IV.i.2oo.
IV.i.219.
IV.i.222.
IV.i.311.
IV.ii.66-
V.i.6.
V.i.i6
V.i.2i
V.i. 29
V.i.38
V.i. 62
V.i.94
V.i.195.
V.i. 206.
V.i. 210.
V.i. 211 .
V.i.215.
V.1.234.
V.i. 240.
V.i. 249.
V.i.249-
V.i.265.
V.ii.8...
V.ii.29. .
V.ii.32. .
V.ii.33-4
V.ii.34. .
V.ii.51..
V.ii.72. .
V.ii.8o..
V.iii.i6-;
V.iii.32 .
V.iv. 23 .
V.iv.30.
V.iv.45.
V.iv.50.
V.iv. 74.
V.iv. 105
V.iv. 116
63
Othello
.30. .
•39- •
.125.
• 139-
•145-
•155-
.170.
.172 .
I.ii.3,
285
259
226
303
260
161
225
38, 159
75
75
180
365
389
389
350
260
180
285
318
391
387
260
136
192
328
328
367
202
10
302
287,
352
348-9
331
279
264
39
191
74
367
73
251
187
225
226
302
267
311
264
16
208
283
272
300
15
224
196
243
126
351
INDEX
413
Othello (continued)
40
1.11.50.
I.ii.52 .
I.ii.87.
I.iii.i .
I.iii.4.
I.iii.47
I-iii-SS
I.iii.94
I.iii.106-9
I.iii.130
I.iii.140
I.iii.141
I.iii.144
I. Hi. 155
I.iii.2oo
I.iii.203
I.iii.219
I.iii.225
I.iii.227
I.iii.234
I.iii.237
I.iii.239
I.iii.245
I.iii.283
I.iii.297
I.iii.300
I.iii.324
I.iii.330
I.iii.339
I.iii.346-
I.iii.379
I.iii.382
I.iii.387
II.i.26
n.i.33
II.i.42
II.i.88
II.i.89
II.i.92
II. i. 109
II.i.155
II. i. 169
II. i. 206
II. i. 210
II. i. 238
II. i. 239
II. i. 247
II.ii1.15
II.iii.47
II.iii.75
II.iii.114
II.iii.155
II.iii.156
II.iii.215
II.iii.225
II.iii.243
II.iii.248
II.iii.284
II.iii.340
III.i.13.
Ill.i.SSS
43
168
170
164
338
10
196
206
161
167
8
168
138
175
245
3^3
64, 172
204
8
72, 188
306
72
8
297
243
224
10
15
214
II
178
132
15. 16
46, 240
166
373
165
9
165
168
276
III
13
346
208
159
278
131
292
23, 168
165
291
39, 173
242
161
276
170
337
377,386
10
273
Ill.iii.41
271
III.iii.56
348
III.iii.95
156
Ill.iii.ioo. . . .
.... 240
III.iii.122 ....
.... 200
III.iii.135.
213
III.iii.169. . . .
.... 382
III.iii.174. . . .
.... 386
III.iii.177. . . .
394
III.iii.i86
364
III.iii.190. . . .
245
III.iii.221 ....
.... 156
III.iii.252 ....
189
III.iii.334
••■■ 359
III.iii.342
349
III.iii.343
369
III.iii.379
■ • • ■ 354
III.iii.444. • • •
.... 175
III.iii.459 ....
■■■■ 253
III.iii.462 ....
• • • ■ 253
ni.iv.34
352
III.iv.59
236
III.iv.77
14
III.iv.117 • ■ •
.... 245
III.iv.170. . . .
■••■ 374
III.iv.175....
.... II
IV.i.3
16
IV.i.69
.... 207
IV.i.79
.... 187
IV. i. 122
326
IV.i.123
278
IV.i.130
159
IV.i.165
161
IV.i.185
.... II
IV.ii.15
297
IV.ii.37
.... 10
IV.ii.70
.... 291
IV.ii.8i
72
IV.ii.ioo
203
IV.ii.115
324
IV.ii.134
237
IV.ii.144
239
IV.ii.171
188
IV.ii.176
.... 209
IV.iii.17
71
IV.iii.23
.... 165
IV.iii.25
.... 138
IV.iii.32
.... 138
IV.iii.ioi ....
194
V.i.22
166
V.i.35
.... 178
V.i.48
.... 246
V.i.104
154
V.ii.25
284
V.ii.38
170
V.ii.51-2
3^3
V.ii.207
284
V.ii.232
.... 348
V.ii.238
.... 326
V.ii.284
... 12, 293
V.ii.3So
...38,161
Richard II
I-i-3
329
I-j.47
16
I.i.ioo
.... 368
I-i-i32
.... 368
I.i.172
.... 267
I.i.i86
344
I.i.189
315
I.i.191
.... 348
I.ii.2o
347
I.ii.46
172
I-ii-47
172
I-ii-53
172
I.ii.62
.... 246
I.iii-3
.... 10
I.iii.29
.... 156
I.iii.71
.... 156
I.iii.109
.... 283
I-ii;-i93
333
I.iii.22o
.... 10
I.iv.6
.... 218
I.iv.i6
236
I.iv.46-7
.... 239
Il.i.i
289
II.i.15
.... 327
II.i.20
16
II.i.26
239
Il.i.ioi
14
II. i. 109
326
Il.i.iio
339
II. i. 161
.... 12
II.i.173
16
II. i. 296
9
nii-57
.... 318
n. 11. 143
369
II1I1-57
.... 296
II.iii.72
.... 221-2
Il.iii.ioo
16
II.iii.136
208
II.iii.151
344
II.iv.2
215
II.iv.8
.... 283
Ill.i.i
.... 378
Ill.ii.IO
16
ni.ii.34
14
III.ii.126
; . . . 14
III.ii.218
.... 281
III.iii.19 s.d.. .
.... 348
III.iii.25
343
III.iii.76
.... 10
III.iii.132 ....
8
III.iii.183....
.... 328
III.iv.24
.... 296
III.iv.42
. . .11, 228
III.iv.63
228
III.iv.74
...45, 228
IV.i.33
144
IV.i.114
257
IV.i.127
.... 183
IV.i.148
.... 162
IV.i.i66
.... 219
IV.i.251
174
414
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Richard II {continued)
IV.i.296.
IV. i. 322.
V.i.47...
V.i.64. . .
V.i.69. . .
V.iii.65. .
V.iii.118.
V.iii.i22 .
V.V.52. . .
V.V.58...
V.vi.18 s.d
V.vi.26.
V.vi.46 .
128
149
13
149
362
209
71
126
46, 229
229
348
8
14
Richard III
I.i.48 13
I-J-59 15
I.i.6o 300
I-i-6i 345
I.i.67 172, 378
I-i-75 39, 172
I.i.92 283
I-ii-39 123
I-ii-6o-i 353
I.ii.78 162
I-ii-i38 340
I.ii.144 274
I.ii-i79 134
I.ii.i88 16
I-ii-203 15
I.ii.240 256
I-ii-243 380
I.ii.246 290
I.iii.i 369
I.iii.6 112
I.iii-54 130
I.iii-144 Z°2,
I.iii.i8o 231
I.iii.214 298
I.iii.309 290
I.iii-327 130
I-iii-352 2,2>i
I-1V.35 343
I.iv.88 72
I.iv.130 272
I.iv-152 259
I.iv.177 312
I.iv.i8i-2 150
I.iv.192 279
I.iv.2o6 299
I. iv. 267-8 274
II.i.98 292
II. i. 107 15, 146
n.ii.47 134
II.ii.6i 13
II.ii.62 338
II.ii.145 126
n-ii-i47 131
II.ii.149 362
II.iii.2 14
II.iii.3....
II.iv.12. . .
II.iv.71 . . .
III.i.17. . .
in.i.35.-.
III.i.52. . .
III.i.82. . .
III.i.114. .
III.i.123. .
III.i.150. .
III.i.154..
III.i.156. .
nl.ii.72. . .
Ill.ii.i 13. .
III.iii.20. .
III.iii.23 . .
ni.iv.8o. .
III.iv.8i. .
ni.v.13...
III.V.19...
III.V.61...
III.V.91...
III.V.108..
III. V. 109. .
III.vii.5s. ■
III.vii.90. .
III.vii.io6
in.vii.144
III.vii.170
III.vii.i86
III.vii.201
III.vii.213
III.vii.229
III.vii.231
IV.i.i s.d..
IV. i. 92-4. .
IV. i. 92-5. .
IV.i.104...
IV.ii.i. . . .
IV.ii.94. . .
IV.iii.4. . .
IV.iii.ii. .
IV.iii.15. .
IV.iii.22 . .
IV.iii.31-2
IV.iv.io. .
IV.iv.24. .
IV.iv.25 . .
IV.iv.41 . .
IV.iv.45. .
IV.iv.73 • •
IV.iv. 124.
IV.iv.132 .
IV.iv.247 •
IV.iv.284.
IV.iv.336.
IV.iv.415.
IV.iv.458.
IV.iv.504.
IV.iv.512 .
IV.V.7....
V.iii.ii . . .
V.iii.2g. . .
.231-2
V.iii.42.
• 293
V.iii.105
244
V.iii.127
• 327
V.iii.151
206
V.iii.154
• 199
V.iii.2oo
112
V.iii.217
207, 232
V.iii.223
12, 143
V.iii.224
126, 225
V.m.275
• 323
V.iii.316
• 29s
V.v.ii..
• 323
V.V.14. .
. 258
V.V.21 . .
•373-4
V.V.25..
207
V.V.26..
• 251
126, 251
Rom
• 256
. 288
I.i.15...
■ 347
I.i.27. . .
■ 375
I.i.70. . .
. 362
I.i.84...
. 278
I.i.90. . .
• 256
I.i.91 . . .
. 283
1. 1.144. •
290
1. 1.175. ■
222
1. 1.177..
II
I.i.2oo. .
• • 370
I.i.20I . .
■• 2,2,2)
I.i.204. .
207
I.i.2ii. .
. . 214
Li. 212. .
• • 340
I.i.2i6. .
256
I.i.217. .
.63,322
I.i.219. .
. . 26, 27
I.i.229. .
•• 353
1.1.230. .
219
I.ii.14. .
.. 138
1. 11.15. .
• ■ 131
I.ii.29. .
■65,347
I.ii.56..
■ ■ 340
1.11.57. .
201
1.11.99. .
.. 189
I.iii.2. . .
. . 170
I.iii.io. .
• • 193
I.iii.14. .
246
I.iii.44. .
•■ 365
I.iii.48..
•• 155
I.ni.50. .
■ • 343
1.111.53..
. . 280
I.iii.58..
• • 333
1.111.59..
207
I.iii.65. .
169
I.iii.67. .
• ■ 344
I.iii.69. .
371
I.iii.ioo.
■ • 334
I.iv.26. .
. . 208
I.1V.39..
10
I.iv.42. .
■• 319
I.iv.44. .
• • 297
I.IV.55..
•• 319
I.iv.66..
300
246
323
338
346
328
161
206
280
232
347
329
345
252
16, 361
Romeo and Juliet
317
154
269
8
277
346
167
172
157
185
175
300
269
163
166
328
143
278
283
185
163
160
369
369
177
365
370
15
II, 355
355
262
300
211, 355
71
348
312
298
163
312
367
72
72
282
173
INDEX
415
Romeo and Juliet
{continue
d)
I.iv.69
293
I.iv.72
8
I-iv.73
165
I-1V.79
170
I.iv.80
207
I.iv.91
13
I.iv.ioo
301
I.V.16
13
I.V.25
201
I.V.3I
347
I-V.43
. .40
194
I-V.44
157
I.V.81
II
I-V.93
• 144
163
I-V.97
295
I.V.104
■ -41
223
I.V.125 s.d
112
I.V.I 29
298
I-V.I33
165
I-V.I35
II
I.V.140
165
II.Prol.14
8
II.i.2
... I
3- 16
Il.i.IO
177
II.i.i6
163
II.i.25
163
II.ii.40
364
II-ii.43
160
n-ii-47
336
n.ii.83
■276,336 1
II.ii.90
185
n.ii.93
166
II.ii.99
163
Il.ii.ioi
120
II.ii.109
301
II.ii.142 s.d.. . .
112
II. ii. 162-3
185
II.ii.i68
173
II.ii.176
9
II.ii.i8i
185
II.ii.187 s.d.. . .
112
II.iii.1-4
179
iJ4ii-33
344
11.111.74
186
11.iv.21
361
II.iv.66
188
n.iv.73
II
II.iv.79
341
II.iv.95
341
II.iv.io6
339
II.iv.107
..II
,283
II.iv.113-4. . . .
351
II.iv.114
339
II.iv.125
211
II.iv.142
367
II.iv.162
280
II.iv.166-7. . . .
161
II.iv.192
120
II.iv.196
143
II.V.4
346
II.V.5
326
II.V.13
120
II.V.21
346
II.V.30
291
II.V.40-1. .
353
II-V.43
II
n.v.53
173
II.V.61
41, 223
II.vi.8
71
II.vi.12. . . .
389
II.vi.i8....
327
II.vi.23. • • •
341
1 1. vi. 24-9. .
161
III.i.5
342
III.i.74....
327
III.i.88....
214
III.i.96
214
III.i.105. ..
72
III.i.ii6..
347, 353
III.i.117..
336
III.i.137..
167
III.i.138. .
347
III.i.163..
173
III.i.189. .
157-8
III. i. 194. .
37,158
III.ii.9....
163
Ill.ii.ii...
336
III.ii.19...
120
III.ii.56...
355
III.ii.6o...
158
III.ii.64...
342
III.ii.71...
65, 344
III. ii. 71-2.
179
III.ii.73...
114
III.ii.79...
160
III.ii.95...
186
III. ii. 104. .
15
III.ii.io6..
209
III. ii. 121. .
158
III.iii.23 • ■
276
III.iii.52. .
186
III.iii.54. .
269
III.iii.68..
276
III.iii.84. .
207,347
III.iii.93..
359
III.iii.103 •
163
III.iii.117 .
321
III.iii.123 •
365
III.iii.138.
163
III.iii.141 .
160
III.iii.143.
186
III.V.IO...
168
III.V.12...
348
III.V.43...
8
III.V.82...
163
III.V.IOI. .
120
III.V.I06..
164
III.V.IIO. .
277
III.V.I3I..
306
ln.v.133..
10
III.V.I57..
369
III.V.I72. .
173.369
III.V.I74. .
167
III.V.177
. . . . 142
III.V.218
207
III.V.222
..•■ 347
III.V.235
161
inv.237
171
IV.i.i s.d
207
IV.i.34
•155-359
IV.i.40
.... 173
IV.i.41
.... 336
IV.i.47
.... 158
IV.i.49
. . . . 207
IV.i.54
15s
IV.i.72 I
95, 269-70
IV.i.88
. . . . 164
IV.i.ioo
.... 17s
IV.i.ioi
166
IV.i.119
301
IV.i.I2I
• ■36, 15s
IV.ii.23
.... 207
IV.ii.36
. . . . 164
IV.iii.22
.••■ 375
IV.iii.47
.... 328
IV.iii.49
.... 196
IV.iii.57
.... 173
IV.iv. 10
.... 186
IV.iv.14
•••• 13s
IV.iv.21
.... 158
IV. V.I
.... 211
IV.V.36
. . . . 164
IV.V.37
.... 186
IV.V.72 I
5- 146, 233
IV.V.82
.... Ill
V.i.4
.... 196
V.i.i8
.... 368
V.i.19
.... 166
V.i.38
.... 164
V.i.70
.... 301
V.i.71 I
I, 125, 233
V.i.82
.... 276
V.iii.i
.... 342
V.iii.io
.... 270
V.iii.i I s.d
.... 112
V.iii.19
.... 167
V.iii.44 s.d
.... 112
V.iii.92
.... 277
V.iii.94
.... 279
V.iii.ii2
16
V.iii. 126
.... 338
V.iii.127
.... 368
V.iii. 135
.... 187
V.iii. 182
.... 237
V.iii.189
.... 328
V.iii. 213
284
V.iii. 269
.... 36s
V.iii. 304
••.. 357
The Taming oj
the Shrew
Ind. ii.io
.... 300
Ind. ii.17
.... 319
Ind. ii.71
. . .43. 116
Ind. ii.134
. .260, 357
I.i.i s.d
.... 143
416
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
The Taming
7/ the
Shrew \
{continued)
I-i-33
71
I-J-47
• "3
I.i.io6
• 369
I.i.125
8
I.i.127
• 362
I.i.138
II, 208
I.i.i57
• 137
Li. 162-5. . . .
• 380
I.i.202
141
I.i.238
• 143
Li. 240
. 198
Lii.24
190
Lii.2s
• 137
Lii.27
■ 3"
Lii.68
■ 257
Lii.69
• 138
Lii.71
.144
-5- 221
Lii.86
15
Lii.88
. 136
Lii.118
. 182
Lii.i86
• 374
I.ii-247
. 227
Lii.278
. 138
n.i.8
■ 133
n.i.13
■ 369
n.i.37
267
n.i.6o
■ 139
n.i.62
• 319
n.i.63
• 297
n.i.66
15
n.i.73
• 138
n.i.78
• 294-5
n.i.89
■ 265
n.i.ios
. 198
n.i.115
8
n.i.is2
• 257
n.i.167
. 116
n.i.2oo
. 182
n.i.209
68
n.i.336
. 198
n.i.3S2
■ 257
n-i-367
• 139
HLi.i
190
nLi.28
48, 137
nLi.30
• 327
nLi.32
■ 137
nLi.40
■ 327
nLi.41
• 137
nLi.42
. 138
nLi.46
• 332
nLi.47
• 243
nLi.79
104
nLii.i6
. 182
nLii.28
. 198
nLii.29
. 116
ln.ii.33
• 145
nLii.40
• 301
nLii.46
193
nLii.65
• 316
nLii.70
• 213
nLii.126.
nLii.162.
nLii.163-
nLii.205.
Iv.i.36-7.
lv.i.42...
lv.i.45...
IV.i.ioi..
IV.i.iis..
IV. i. 144. .
IV.ii.4-5.
IV.ii.6. . .
IV.ii.8...
IV.ii.31..
IV.ii.65..
IV.ii.120.
IV.iii.19.
IV.iii.8i.
IV.iii.88.
IV.iii.io6
IV.iii.io8
IV.iii.131
IV.iii.147
IV.iii.171-
IV.iv.17 .
IV.iv.33.
IV.iv.34.
IV.iv.54.
IV.iv.55.
IV.iv.88.
IV.iv.90.
IV.v.i. .
IV.V.35.
IV.v.37.
IV.V.77.
V.i.32 . . .
V.i.45...
V.i.64. . .
V.i.98. . .
V.i.113. .
V.i.I22 . .
V.ii.i...
v.ii.37..
v.ii.65..
v.ii.132.
v.ii.136.
v.ii.139.
79
182
182
187
368
137
248
205
200
10
113
"3
113
"3
248
215
116
72, 117
227
148
258
260, 279
148
310
227
227
207
227
109
138
365
104
100
133-4
299
1 00- 1
213
267
198
285
374
156
109
248
257
227
The Tempest
I.ii.8o.
I.ii.84.
I.ii.91 .
Lii.105
I.ii.ii6
I.ii.147
I.ii.152
Lii.159
I.ii.190
Lii.198
I.ii.249
I.ii.272
I.ii.301
202
287
10
266
14
212
378
330
213
48, 136
254
259
207, 225
I.ii.339.
I.ii.352.
I-ii-375-
I.ii.396.
I.ii.444.
I.ii.450.
I.ii.470.
I.ii.47i-
ILi.15...
II.i.96. ..
II.i.i57..
II.ii.4
II.ii.57...
II.ii.122. .
II.ii.133. .
II.ii.138..
III.i.88. .
III.ii.8...
III.ii.27. .
III.ii.49-5
III.ii.68..
III.ii.72. .
III.ii.74.-
IILii.82..
III.ii.133.
IILiii.8..
III.iii.20.
III.iii.29.
III.iii.36-(
III.iii.56.
IV.i.iio..
IV.i.I2I..
IV.i.163..
IV.i.182..
IV.i.246..
V.i.23. . .
V.i.25...
V.i.72. . .
V.i.82
V.i.95-6.
V.i.132. .
V.i.136. .
V.i.i45- •
V.i.2oo. .
V.i.246. .
V.i.289. .
V.i.308. .
225
127
255. 330
25s
8
360
10
71
10
II
256
300
364
12
16
242
243
14
204
330
215
317
362
242
48, 208
16
375
100
70
367
45- 22s
44, 225
377
10
266
70
328
254
254
114
361
129-30
307
36s
377
311
208
Timon of Athens
1 369
25 257
90 128
94 203
loi 233
104 306
162 10
174 359
180 s.d 329
180 16
181 329
193 328
195 330
INDEX
417
Timon of A thens
{co7itinued)
I.i.214
250
1-1.247
199
1.1.250
257
I.ii.i s.d
329
I.ii.Q
329
I.ii.22
144
1.11.23
259
I.ii.46
i2,o
I.ii.6o
259
I.ii.70
259
I.ii.91
369
1.11.94
126
I.11.123-4
253
I.ii.125
.214
354
I.ii.141
. . . 200-1 1
I.11-I43
• -44
234
I.11.I45
369
I.ii.158
375
1. 11.159
224
I.ii.i66
234
I.iI.198-9
■ -44
234
1. 11.215
364
1.11.230
234
1.11.24s
126
n.i.7
208
Il.i.IO
309
II.i.17
15
II.i.19
234
II.ii.52
369
II.ii.6o
214
n.ii.77
329
II.ii.8o
■323
329
II.ii.86
330
II.ii.103
316
Il.ii.iii
365
n. 11. 113
208
11.ii.129
123
11.ii.143
186
II.ii.i68
213
III.i.28
369
III.i.49
214
in.i.57
318
III.ii.i8
286
ni.ii.33
363
in.ii.57
364
III.ii.64
384
III.iii.6
12
Ill.iii.ii
346
in.iii.12
196
III.iii.21
135
ni.iii.23
363
III.1v.4s
361
in.iv.51
13
III.iv.8i
342
III.iv.113
. 102
284
III.V.26
■234
385
III.V.27
.250
385
III.V.62
189
III.V.66
III
III.V.81
129
III.V.97 10
III.v.iii 234
III.vi.19 322-3
III.vi.30 362
III.vi.68 8
III.vi.95 336
III. vi. Ill 255
IV.i.13 107
IV.i.36 357
IV.ii.i 214
IV.ii.30 385
IV.11.33 387,388
IV.11.35 387
IV.ii.41 326
IV.ii.45 300
IV.111.12-3. ... 13, 38, 107
IV.iii.32 10
IV.iii.45 3i°
IV.iii.52 138
IV.iii.io8 8
IV.iii.i86 8
IV.iii.206 234
IV.iii.214 124
IV.iii.261 16
IV.iii.365 293
IV.iii.396 s.d 329
IV.iii.414 8
IV.iii.416 300
IV.iii.431 237, 364
IV.iii.440 385
IV.iii.442 384
IV.iii.449 286
IV.iii.456 s.d 126
I V.iii. 469-70 363
IV.iii.472 151
IV.iii.475 336
IV.111.477 29s
IV.iii.485 300
IV.1ii.514 388
V.i.5 139
V.1.6 139
V.i.25 270
V.i.56 270
V.i.69 129
V.i.78 239
V.i.iio 201
V.i.114 247
V.i.124 19, 124
V.i.125 10
V.i.129 II
V.i.131 II
V.i.198 328
V.i.2o6 8
V.i.215 209
V.ii.2 40, 194
V.iv.28 151
V.1V.49 330
V.1V.55 142
V.iv.62 178
V.1V.71-3 46, 234
Titus Andronicus
I.i.5-6 64,351
I.i.23 138
I.i.71 327
I.i.89 282
Li. 98 258, 262
I.i.104 282
I.i.105 349
I.i.I22 18
I.i.123 282
I.i.i54 185
I.i.i6o 282
I.i.i66 366
1.1.185 371
Li. 192 306
I.i.214 255
Li. 223 269
Li.24o 375
Li. 242 190, 329
Li.245 323
Li. 264 252
Li. 269 273
I.i.27S 319
Li.280 138
Li.304 185
Li. 316 191, 329
Li. 320 312
I.i. 333 329
L1.348 327
Li. 350 256
I.i.357 327
Li.358 292
Li. 360 345
Li.419 75-151
1.1.425 324
Li.451 283
Li. 466 301
Il.i.i heading 190
ILi.4 157
II.i.2o 312
II.i.22 258
II.i.45 10
II.i.62 341
ILi.70 347
ILi.73 310
II.i.81 ; 71
II.i.89 233
II.i.93 303
11.1.135 328
II.ii.24 125, 146
II.iii.19 265
II.iii.54 280
ILiii.88 137
Il.iii.iii 286
II.iii.ii6 s.d 325
II.iii.117 347
II.iii.ii8 138
II.iii.126 199
ILiii.131 lOI
ILiii.136 281
II.iii.162 233
II.iii.172 274
II.iii.i86 s.d 112
II.iii.201 341
II.iii.236 48, 139
418
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
Tilus Andron
icus
{continued)
n.iii.296
■• 328
n.iv.39
.. 328
n.iv.43
■• 257
n.iv.55
71
ni.i.i2
120
ni.i.23
■ • 257
ni.i.28
162
ni.i.56
• • 144
ni.i.66
■ ■ 233
ni.i.70
269
ni.i.91
.. 366
ni.i.146
. • 320
ni.i.178. ...
• • 324
ni.i.193....
•• 157
ni.i.2i2. . . .
. ■ 327
ni.i.226
. . 107
ni.i.242. . . .
.• 259
ni.i.243 —
■ • 373
HI. i. 250. . . .
•• 327
ni.i.256
■• 338
ni.i.2S7....
•• 338
nl.i.274....
276
nl.i.282
120
Hl.ii.is.d...
• ■ 135
ni.ii.38
16
ni.ii.39
.. 185
nl.ii.52
120
nl.ii.55
120
IV.i.20
. . 171
lv.i.52
. . 284
lv.i.59
.. 327
IV.i.7is.d...
.. 363
IV.i.71
■• 233
IV.i.73
160, 254
IV.i.7S
• • 252
IV.i.78
• . 301
IV.i.90
• • 351
IV.i.92
•• 254
IV.ii.9-17. . .
.. 161
IV.ii.20-1 . . .
48,
^38,'
171, 284
IV.ii.42
269
IV.ii.44
. . 282
IV.ii.62
• • 319
IV.ii.98
• • 250
IV.ii.136....
■ • 233
IV.ii.139. . . .
269
IV.iii.2
120
IV.iii.i4. . . .
. . 298
IV.iii.27. . . .
. . 101-2
IV.iii.44. • • •
.. 138
IV.iii.48
■ • 346
IV.iii.S3....
190
IV.iii.77. . . .
10
IV.iii.IO4. . .
.. 241
IV.iv.i s.d...
■ . 277
IV.iv.4
207
IV.iv.37....
.19, 194
IV.iv.42-3 . .
• . 369
IV.iv.47. . . .
.. 301
IV.iv.65
IV.iv.72
IV.iv.87
lv.iv.105
v.i.13
v.i.17
V.i.2o s.d
V.i.46. .
V.i.65. .
V.i.84. .
V.i.75..
V.i.87. .
V.i.104.
V.i.119.
V.i.126.
V.i.134.
V.i.136.
V.i.137.
V.i.155.
V.ii.28..
V.ii.31-2
V.ii.50. .
V.ii.52. .
V.ii.56..
V.ii.6i. .
V.ii.62..
V.ii.97. .
V.ii.iii.
V.ii.131 s
V.ii.i66.
V.ii.173.
V.ii.192.
V.ii.2oi .
V.iii.3. .
V.iii.8. .
V.iii.io.
V.iii.19.
V.iii.48.
V.iii.55.
V.iii.69.
V.iii.77-95
V.iii.109
V.iii.125
V.iii.131
V.iii.154
V.iii.156
V.iii.191
V.iii.198
V.iii.202
242
262
253
321
272
113
136
233
269
312
375
243, 312
327
257
15, 146
157
128
188
170
36
15s
162
107
138,348
. 188
43. 120
162
341
112
36s
328
162
295
336
240
341
208
163
172
269
65,352
352
321
246
248
233
214
346
285
Troilus and Cressida
,29.
,30.
,87.
,101
I.ii.6. .
I.ii-33.
1.11.43 •
I.ii.46.
I.ii.67.
I.ii.i66
I.ii.i8o
368
297
8
328
328
259
259
146
145
154
I.ii.2o6. .
I.ii.209 . .
I.ii.2i6. .
I.ii.223 . .
I.ii.261 . .
I.ii.279. .
I.ii.283. .
I.ii.286. .
I.iii.i s.d.
I. Hi. 37. . .
I.iii.40. . .
I.iii.6o. . .
I.iii.67. . .
I.iii.75.. .
I.iii.87.. .
I.iii.99-10
I.iii.io6. .
I.iii.118..
I.iii.156. .
I.iii.169. .
I.iii.202. .
I.iii.243. .
I.iii.290. .
I.iii.309 s.d
I.iii.333- •
I.iii.354. .
n.i.6i-2.
n.ii.6....
n.ii.7....
n.ii.34...
n. 11.50. .
n.ii.71 . . .
n.ii.i55..
n.ii.156..
n.iii.69. .
n.iii.70. .
n.iii.77. .
n.iii.82. .
n.iii.83..
n.iii.97. .
n.iii.io2.
n.iii.iio.
n.iii.ii6.
n.iii.118.
n.iii.167.
n.iii.254.
ni.i.i6. .
n1.ii.48..
ni.i.73..
ni.i.8i. .
ni.i.iio.
ni.i.148.
HI. ii. 19-2
ni.ii.44. .
ni.ii.58s.
ni.ii.6i..
ni.ii.68..
ni.ii.73-.
ni.ii.74-.
ni.ii.ii2.
nl.ii.115.
nl.ii.119.
nl.ii.125.
INDEX
419
Trotlus and Cressida
{co7ttinued)
III.ii.i5S
III. ii. 163
III. ii. 172
III. ii. 199
III.iii.4.
in.iii.26
III.iii.S5
III.iii.8o
III.iii.82
III.iii.8s
III.iii.86
III.iii.io8
III.iii.120
III. iii. 130-2
III.iii.143-4
III.iii.178
III. iii. 179
III.iii.183
III. iii. 200
III.iii.228
III.iii.266
III. iii. 273
III. iii. 288
IV.i.i s.d
IV.i.46..
IV.ii.2..
IV.ii.14.
IV.ii.17.
IV.ii.46.
IV.ii.6i.
IV.ii.6s.
IV.ii.68.
IV.ii.69.
IV.ii.ioo
IV.iv.4-5
IV.iv.is-6
IV.iv.40.
IV.iv.45.
IV.1v.57.
IV.iv.91 .
IV.iv. 100
IV.iv.102
IV.iv.ii8
IV.V.12 s.
IV.V.13
IV.V.17
IV.v. 20
IV.V.55
IV.V.58
IV.V. 112.
IV.V.13S.
IV.v. 144.
IV.v. 1 76.
IV.V.193.
IV.v. 216.
IV.V.219.
IV.v. 237.
IV.v. 263.
IV.v. 270.
V.i.17...
193
143
272
368
357
366
334
204, 386
232
384
384,385
375-6
125, 252
72
232
174
125
136
15
347
354
171
72
208
188
368
277
171
162
268
349
232-3
291
8
272
10, 286
179
195
273
341, 365
2,354
243
162
386
259
252
167
131
390
259
8
279
169
346
334
V.i.18. .
V.i.82. .
V.i.94. .
V.ii.3...
V.ii.6...
V.ii.13. .
V.ii.27. .
V.ii.29. .
V.ii.43..
V.ii.50-1
V.Ii.58..
V.ii.90. .
V.ii.99. .
V.ii.i2o.
V.ii.149.
V.ii.165.
V.ii.194 s
V.iii.48.
V.iii.83:
V.iii.88.
V.iii.89.
V.iv.io.
V.V.I s.d
V.v.6...
V.v.9...
V.v. 10. .
V.v.ii..
V.V.45..
V.vii.6..
V.vii.io-
V.viii. II
V.viii.2o
V.X.I s.d
V.X.19. .
V.X.33. .
V.X.54-.
43
16
329
329
113
157
334
162, 168
122
195
16
279
8
106
134
161
208
55, 268
197
355
138
261
355
350
239
63, 321
259
175
139
358
, 300
Twelfth Night
I.i.6....
I.i.29. . .
I.i.39. . .
I.ii.40. .
I. iii. 48. .
I. iii. 57..
I. iii. 108.
I. iii. 127.
I. iii. 130.
I.V.16. .
I.V.51. .
I-V.55- •
I.V.65..
I.v. 203 .
I.V.251 .
I.V.288.
I.V.293.
I.V.295.
II.i.17..
II.i.19..
II.ii.i8..
II.ii.29. •
II.ii.34..
74
16
228
236
113
298
364
300
255
212
372
364
298
241
317
305
392
190
318
314
117
no
316
n-iii-i33
332
II. iii. 141
.... 128
II.ii}-i55
369
II. iii. 163
8
Il.iv.i
75
II.iv.72-7
274
II.iv.82
149
II.iv.113-4. . . .
.... 380
Il.iv. 123
.... 266
II.V.12
8
II.V.41
. . . . 256
II.V.56
294
n.v.59
8
n-v.97
.... 308
II. V. 104
293
II.V.130
369
II.V.145
. . . . 10
II.V.176
.... 138
II.V.186
. . . . 190
III.i.32
249
ini-55
. . .46, 237
III.i.69
. . . . 190
III.i.88
. . . . 285
III.i.io8
298
III.i.119
.... 182
III. i. 142-3
••■■ 332
III.ii.7
247
III.ii.34-S
.... 314
III. iii. 20
149
III.iv.15
. . . . 267
III.iv.24-5. . . .
113
III.iv.66
. . . . no
III.iv.91
364
III.iv.144
319
III.iv.169
203
III.iv.i8o
298
III.iv.190
. . . . 112
III.iv.202
72
III.iv.207
.... 112
III.iv.222
316
III.iv.256
332
Iil.iv.368
. . . . 112
IV.i.34
■ .293, 328
IV.ii.37
8
IV.ii.s8
.... 218
IV.ii.6s
243
IV.ii.97
. . . . 212
IV.iii.34
.... 314
IV.iii.3s
. . . . 190
V.i.i
8
V.i.71
364
V.i.ns
30s
V.i.165
218
V.i.189
298
V.i.190
.... 21s
V.i.192 4
0, no, 218
V.i.231
. . . . 10
V.i.273
. . . . n
V.i.274
. . . . 10
V.i.278
393
V.i.287
.... 316
V.i.320
364
V.i.330
14
420
SHAKESPEARE'S SEVENTEENTH-CENTURY EDITORS
The Two Gentlemen of
Verona
I.i.19. . .
I.i.S7. . .
I.i.76. . .
I.i.109-1
I.i.124. .
I.i.131. .
I.i.135. .
I.ii.i. . .
1.11.103.
I.iii.i . . .
I.iii.2i . .
I.iii.65. .
I.iii.67..
I.iii.87. .
I.iii.88..
n.i.2i..
n.i.91-2
n.i.149.
H.iv.50.
n.iv.95.
n.iv.97 .
n.iv.192
n.iv.2io
H.V.44. .
n.vii.70
ni.i.2i.
ni.i.50.
ni.i.89.
HI. i. 149
ni.i.169
ni.i.187
HI. i. 200
HI. i. 244
HI. i. 260
HI. i. 271
HI. i. 276
III.i.304
HI. i. 313
HI. i. 325
III. i. 344
III.ii.14
III.ii.20
III.ii.25
III.ii.46
III.ii.8i
IV.i.35.
IV.i.49.
IV.ii.23
IV.ii.78
IV.ii.89
IV.ii.109
IV.ii.129
IV.ii.136
IV.iv.39
IV.iv.s8
15
243
132
200
10
220-1
38, 109
211
1 12
319
244
297
211
112
127
15
344
204
201
112
8
136, 179
126
109
192
307
112
359
37, 102
112
112
202
71
112
376
112
204-S
237
72, 370
212
14
266
225
330
15
114
72, 248
202
225
8
132
112
112
197
112
IV.iv.66.
IV.iv.70.
IV.iv.85.
IV.iv. 103
IV.iv. 174
IV.iv.201
V.ii.32.
V.ii.50.
V.iv.49
V.iv.57
V.iv.63
V.iv.67
V.iv.io8.
V.iv. iio-
V.iv.156.
V.iv. 161 .
130
102
1 12
112
112
126
179. 323
15
221
8
225
114
385
388
225
15
The Winter's Tale
I.i.26
I.i.28
I.ii.70. . .
I.ii.ii2 . .
I.ii.114 . .
I.ii.123 . .
I.ii.139. .
I.ii.140-1
I.ii.152. .
I.ii.2o6. .
I.ii.2o8. .
I.ii.253..
1.11.254. .
I.ii.290. .
I.ii.316. .
I.ii.321 . .
I.ii.389..
I.ii.412 . .
I.ii.445. .
II.i.13...
II. 1.33. . .
II. i. 136. .
II. i. 141 . .
II. i. 145. .
II. i. 184. .
II.ii.6....
II.ii.15. .
II.ii.18-9
II.ii.32. .
II.ii.53...
II.iii.9. . .
II.iii.39. .
II.iii.126.
II.iii.177.
II.iii.197.
Hl.ii.io..
III.ii.29. .
III.ii.s5..
280
218
117
237
221
228
41, 221
261
390
356
99
16
36s
228
183
356
337
10
183
14
112
136
10
218
246
130
205
112
369
249
112
145
200
14, 256
327
112
16
369
IH.ii.67. ..
III.ii.104. •
III. ii. 114. .
IH.ii.135..
III.ii.165..
III.ii.i68..
III.ii.173..
III.ii.174. .
III.iii.7...
III.iii.20. .
III.iii.54. .
III.iii.59. .
III.iii.109.
Ill.iii.iio.
Ill.iii.i 14.
III.iii.ii6.
IV.i.17-9..
IV.i.22....
IV.iii.io. .
IV.iii.53..
IV.iii.105 .
IV.iii.109.
IV.iii.ii I .
IV.iv.4.
IV.iv. 12
IV.iv.35
IV.iv. 40
IV.iv. 52
IV.iv.54
IV.iv. 219.
IV.iv.254.
IV.iv.3s3.
IV.iv.356-
IV.iv.411 .
IV.iv. 415 .
IV.iv.4s9.
IV.iv.4
IV.iv.481
IV.iv.482.
IV.iv.485.
IV.iv.491 .
IV.iv.541 .
IV.iv.s8i.
IV.iV.S92 .
IV.iv. 715.
IV.iv.724.
IV.iv. 776.
IV.iv.787.
I V.iv. 788.
IV.iv.817.
V.i.37
V.i.6i
V.i.140. . .
V.ii.86-7.,
V.ii.i22. . ,
V.iii.S9. . ,
V.iii.128. .
D. P. 3..
78-9
39
16
305
112
316
4.3-4, 117
183
198
203
10
205
369
112
375
369
369
369
149
44, 191
43, "7
124
364
377
205
218
117
228
117
112
112
376
256
130
198
142
130
lOI
274
205
187
45, 228
130
249
228
218
145-6
146
138
361
316
112
332
251
193
71
208
349
369
294
Date Due
JAN 4 '60i
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